Bheshas of Shri Jagannath

Lord Jagannath always shows close affinity to human world and it can be even more with his costumes in different Bhesa,The deities on the Ratnavedi are adorned with various gold ornament studded with precious gems,Tulasi leaves, sandalwood paste,camphor & occasionally musk are used in the daily puja of the lords. Jagannath, his brother Balabhadra (also called Bara Thakura) and his sister Subhadra are enthroned on the Ratnavedi or Singhasan, a throne of chlorire about five feet high. The images are wood, and there are also miniature metal images of Laksmi and Saraswati, besides an image called Sudarsan Chakra( the name of the wheel of Vishnu). The elder brother Balabhadra is six feet in height, the younger Jagannath five feet, and their sister Subhadra four feet. They are fashioned into a curious resemblance of the human head resting on a sort of pedestal. They are painted white, black, and yellow respectively. Social anthropologists interpret these colours to represent the three races of mankind viz. Negroids, Europeans and Mongoloiads. In the empirical language of physics black is the most ideal absorber of radiation, white a good reflector and the yellow one of the unadulterated primary colours. their faces are exceedingly large, and their bodies are decorated with a dress of different colored cloths. The two brothers have arms projecting horizontally forward from the ears.While the eyes of Jaganath are regular circles, the eyes of Subhadra and Balabhadra are oval. The head of Balabhadra is scalloped with a semi-circular lobe indicating a hood of a serpentSubhadra's head a tiara and Jagannath a straight line

Nabakalebara (construction of New idols of the three Lords) is regular feature of Jagannath Dham at regular intervals. Old, worn out idols are rejected and buried under earth and in their place, new idols for 3 deities, i.e. Lord Jagannath, Subhadra and Balaram, are constructed. From that time, tradition, still remains that carpenter sevaks and priests living with discipline pray,Maa Mangala of Kakatpur remaining prostrated before the deity at Kakatpur to bless them by showing sacred trees and their location, which alone are suitable for construction of the idols in Nabakalebara. In fact, they get the indication, and exact location of the sacred trees and path leading to the location, in dream. This practice and custom and tradition have been existing for years together, without any deviation. Successful guidance, without fail, from the deity to find out the sacred tree, is evidence of the power and energy of Maa Mangala of Kakatpur. This is unchallenged evidence which stands unrebutted giving concrete proof of blessing, power of mother Mangala on their devotees. Even Lord Jagannath who is the hood of all universe is assisted by mother, who is the original power for creation, is actively guiding the carpenters and priests to find out suitable sacred wood, according to specific features, for construction of the sacred idols, what to speak of other evidence.

The three deities have Vastra Shringar (dress regimen) too.Jagannath is dressed with clothes of prescribed colours viz. Sunday (red), Monday (white with black border),Tuesday (five assorted colours), wednesday (blue), Thursday (yellow), Friday (white), Saturday (black).As per lunar cycle deities are dressed up differently out of which 21 have historical significance viz. certain robes were introduced by none other than Chaitanya,Ganapatti Bhatta,Vallabhacharya,Ramanujaacharya and others in different centuries.

Abakash Bhesha

This is done daily, after mangala arati, for the abakash rituals. Abakash is the tooth brushing and bathing ritual. The clothes that are worn by the deities are called 'Tadapa' and 'Uttariya.'



Badasrunghara Vesha

This is a very beautiful vesha. It is done before the night time 'pahuda', when the deities are allowed to take rest. It is therefore the vesha the deities appear in the following morning, for mangala arati. This vesha is mostly made of different kinds of flowers. The Lords are decorated with flowered ornaments known locally in Puri as adhara, jhumpa, gava, chandrika, tilak, alaka, guna, hruda pallava, karapallava and tadaki among others. The Deities also wear many flower garlands, some with tulasi leaves, and silk clothes called khandua.

Chandana Vesha

This vesha is done for 42 days, beginning on Akshaya Trutiya.





Hati Vesha

On the full moon day of the month of Jyestha, after the bathing ceremony is over, the Deities are dressed in elephant costumes. Lord Jagannath and Lord Balabhadra are made to look like Lord Ganesh.


Suna Vesha

On the 11th day of the bright fortnight in the month of Ashada, when the Deities return from the Gundicha Mandir on their chariots, they appear in the Suna (Gold) Vesha. They are are decorated with golden ornaments and wear gold crowns. Lord Jagannath and Lord Balabhada appear with hands and feet made of gold. Lord Jagannath holds a golden chakra in His right hand and a silver conch shell in His left. Lord Balabhadra holds a golden club in His right hand and a golden plough in His left.

Raja Vesha
On the 10th day of the bright fortnight of Aswina,the full moon of Pousa and the full moon of Phalguna.

Banabhoji Vesha

On the 10th day of the dark fortnight in the month of Bhadra, the Deities are dressed for a picnic, like the cowherd boys.



Kaliyadalana Vesha

On the 1th day of the dark fortnight of Bhadra, Lord Jagannath is dressed as Krishna in His pastime of killing the serpent Kaliya(Black Cobra).



Pralambasura Badha Vesha
On the following day, the 12th day of the dark fortnight of Bhadra, the Deities are dressed to commemorate Lord Balabhadra's pastime of killing the demon Prahlamba.



Krishna-Balarama Vesha
On the 13th day of the dark fortnight of Bhadra, Lord Jagannath and Lord Balabhadra are dressed very attractively as Lord Krishna and Lord Balarama.


Bali Vamana Vesha
On the 12th day of the bright fortnight Bhadra, Lord Jagannath is dressed like the dwarf brahmin Vamana, who defeated the demon Bali. Vamanadeva was one of the das avatars, the ten incarnations of Lord Vishnu.

Radha-Damodara Vesha
For an entire lunar month, from the 11th day of the bright fortnight of Ashwina to the 10th day of the bright fortnight of Kartika, the Deities are dressed in this vesha. Damodara refers to the lord with a rope tied around His waist, which relates to Krishna's pastimes with Mother Yashoda.


Thiakia Vesha or Laxmi-Narayana Vesha






Bankachuda Vesha

(Assuming the curted hair make-up)Used on the 12th day of the bright fortnight of Kartika.


Adakia Vesha or Trivikrama Vesha

Used on the 13th day of the bright fortnight of Kartika.




Dalikia Vesha or Laxmi Nrisimha Vesha

Used on the 14th day of the bright fortnight of Kartika.
Raja Rajeswari Vesha
The full moon of Kartika.

Chacheri Vesha
From the 9th day of the bright fortnight to the full moon of Jyestha except the 14th day.



Nagarjuna Vesha
This vesha honors Parasurama, the warrior incarnation. It is used only occasionally. It happens during the month of Kartika, when there are six days of Panchaka. This was done six times in the last 30 years on 11/3/95, 11/16/94, 11/26/93, 11/3/68, 11/16/67 and 11/26/66.


Ghodalagi Vesha
During the period from the 6th day of the bright fortnight of Margasira(Odhan Sasthi) to the 5th day of the bright fortnight of Magha (Basanta Panchami) the Deities wear winter clothes.


Jamalagi Vesha
From Basanta Panchami to Dola Purnima the Deities wear modified ghoda (winter clothes).

Padma Vesha
It is done on Saturdays or Wednesdays between the new moon day of Magha and Basanta Panchami. 'Padma' means 'lotus,' and the Deities' dresses are made from lotus, sola lace and paper. These dresses are traditionally supplied by the Badachhata Matha. Halva is offered to the Deities when They are in this vesha.

Gaja Uddharana Vesha
This vesha is done on the full moon day of the month of Magha. It commemorates the story of Gajendra, the king of the elephants, and the alligator.

The Jagannath Temple - Puri

The present Shri Jagannath Temple is the mystery of 12th century A.D. It was built by the king Ananta Barma Chodaganga Dev during 12th century A.D (1135) and was completed by his grandson Ananga Bhima Dev.The exact geographical location of the temple of Jagannath is lat. 19 18'17" and long. 85 51'39".Among the existing temples Orissa, the temple of Jagannath is the highest.The temple (214 ft. 8 inches high from the road level) is on a perfect pancharatha plan. All the paraphernalia of feudal pomp and splendour observed in the daily life of the emperors or potentates of old can be noticed in the daily worship of Jagannath.Shree Jagannath temple is a ‘Rekha Deula’ with curvilinear tower on a ‘Pancha Ratha’ plan. The height of the temple is 214 feet 8 inch from the ground level and 181 feet from inner base (ANTARVEDI). It stands on an elevated platform of stone measuring about 9.83 acres. The temple is bounded by two enclosures. The inner enclosure is 420' x 315 ' size and known as Kurma Bedha, which made between 1467-1494. The outer enclosure is of 665' x 644' size with the height varying from 20 ' to 24 ' and known as Meghanad Prachir.

There are four major temples in a row, named ‘Viman’ (The main temple where Lord Jagannath is worshipped with brother Balabhadra, sister Subhadra and Sudarshan), Jagamohan (Audience hall), Natamandap (Dance hall) and the Bhoga Mandap (offering hall). The height of Jagamohan is 120 feet and the base area is 80 feet x 80 feet. The base area of Nata Mandap is 80 feet x 80 feet and the base area of Bhogo Mandap is 58 feet x 56 feet.

Bada Danda

Everything associated with Shri Jagannath is believed to be grand and big (bada in Oriya ),he is called Bada Thakua the temple itself is called Bada Deula. The sea with its wide and straight beach extendending for miles is called Mahodadhi,the Great Ocean. The food offering of the temple are known as Mahaprasad. The Bada-Danda, Grand Avenue is a wide road linking the great temple of Jagannath on the south to Gundicha Temple on the north, the latter the birth place of the Lord.Bada Danda wears a festive look through out the year and is typical grand Indian bazaar.

Aruna Stambha

In front of the entrance to the eastern gateway there is the beautiful Sun Pillar Aruna Stambha, which originally stood before the temple of the Sun at Konark Temple and was shifted here by the Marathas.It is a monolithic shaft of chlorite with sixtten sides.It is 25 feet and 2 inches in height,2 feet in diametre,and 6 feet and 3.5 inches in circumference.It stands on an exquisitely carved pedestal (made of chlorite) of 7 feet 9 inches square and 6 feet high,and has a capital on the top 2 feet high,over which squats the praying Aruna. The capital is formed of two rings surmounted by a series of lotus petals. The measurements thus give a total height of 33 feet & 8 inches from the ground to the top of the capital.In its present situation the pillar is about two part of the 13th century.

Dwaras
The temple has four gates at the Eastern – Lion Gate (Singha Dwara – The main entrance), Southern – Horse Gate, Western – Tiger Gate, and Northern – Tiger Gate at midpoints of the Meghanad Prachir (Outer Wall). Eastern entrance of the outer enclousure is called Simhadwara or the Lion Gate. The entrance on the Southern,Western and Northern sides of the out enclousure are known as Aswadwara, Vyaghradwara and Hastidwara respectively. They are also called as Purbadwara, Dakhinadwara, Paschimadwara and Uttardwara according to their directions.Worshipping the gates also forms a part of the daily ritualistic service of the temple.The eastern gate is beautifully ornamented.Navagraha reliefs are carved on the architraves of all the gates.
Simha Dwara
Two colossal lions flank the Purba Dwara (Eastern Gate) also known as Simha Dwara. This is a mini tower and the main entrance to the temple. One gets a view of Patitapabana facing east on the northwestern corner o inner walls of the gate. The image can be seen from outside the temple precincts. Those who are denied an entry into the temple can still get a glimplse of the single image of Lord Jagannath. In front of Patitapavana a small image of Garuda has been installed. the idols of phatya Hanumana,Radha-Krishna,and Nursimha have been installed in the inches of the side walls.
Baisi Pahacha
Inside the outer enclosure is the inner enclosure,approached by 22 flights of steps (Baisipahacha) from the eastern gateway of the outer enclosure.The width of the middle 15 steps varies from 5 feet and 10 inches to 6 feet 3 inches and the rise is 6 inches to 7 inches.The size of the remaining 7 steps are smaller both in length and width.The steps are made of felspar and Khondalite.The idols of Kasi-Biswanath,ramachandra,Nursimha, and Ganesh have been installed on the southern side of the Baisipahacha. As the devotee comes out of Gamuta, small tower of simha dwara, he climbs on to the Baisi Pahacha.
Aswadwara
The Aswadwara or the Horse Gate has on each side a galloping stallion of masonry work with the figures of Jagannath and Balabhadra on their back in full military array.These sculptures depict the legendary Kanchi expedition of Jagannath and Balabhadra,and have been installed recently.The inner enclosure is approached by ten flights of steps,made of khondalite,from the southern gateway of the outer enclosure.

The images of Sadhabhuja Gouranga, Ramachandra, Gopala, Barabhai Hanumana and Nursimha have been installed in small shrines in the outer enclosure.Towards the eastern direction of it is the kitchen of Lord which can feed thousands of people at a time. The process of cooking done in the kitchen has some peciliarities.In the same over nine earthern pots are placed and cooking is done simultaneously.There are 200 hearths in the kitchen and 400 supakars work here daily.The present kitchen building dates from the regin of Divyasimha Deva (1690-1713 A.D.) and was built by a private person.The colossal image of Mahavir Hanuman is installed outside the temple enclosure to the east of Aswadwara.

Vyaghradwara

The Vyaghradwara or the Tiger Gate has on each side a figure of a tiger made of mortar.The inner enclosure is approached by seven flights of steps,made of khondalite,from the western gateway of the outer enclosure.The deities of Rameswar-Mahadeva,Sri Jagannath Dwarakanath,and Badrinath are installed in the outer enclosure in a shrine known as Chaturdham.Flower garden have been set up both the sides from which flowers are collected for the daily worship. The shrines of Chakranarayana, Sidheswara, Mahabir Hanuman, and Dhabaleswar Mahadeva are located in this area.On the northern side, the Niladri Vihar has been constructed which depicts the popular legends on Jagannath through models and paintings.

Hastidwara

The Hastidwara or the Elephant Gate had on each side a colossal figure of elephant,which is said to have

been disfigured during the Muslim inroads.Subsequently,these figures were repaired and plastered with mortar and placed at he northern gate of the inner enclosure (Kurma Bedha).

The inner enclosure is approached by thirteen flights of steps made of khondalite,from the northern gateway of the outer enclosure.The deities of Lokanath,Uttarani,Lakshmi-Nursimha,Baraha and Sitala have been installed in the outer enclosure.There is also the sacred Suna-Kuan from which 108 pitchers of water are taken for the ceremonial bath of Lord Jagannath during the Snana Yatra.On the western side of the outer enclosure,near the gate of the kurma bedha,stands a banian tree,and on a raised platform,the favour Koili Baikuntha or Kaivalya Baikuntha.During the Nabakalebara,the images of Jagannath,Balabhadra and Subhadra are being constructed here.

Kasi Viswanatha,Surya Narayana,Kalpa-Bata

Immediately to the left of the first step adjacent to gamuta of simha dwara is the small temple of Kasi Viswanatha facing west. It is the temple of Lord Shiva.It is customary to visit Lord Shiva first before visiting Lord Jagannath. After climbing the twenty-two steps , the devotee reaches the inner walls of the temple known as Kurma Prachira. It is believed that Gajapati Kapilendra Dev Constructed this and the outer walls, Meghananda Prachira in fiftennth century. The eastern gate of the kurma Bedha has several exquisite sculptures.Notable among these are the ones Krishna and Radha and Shri Rama vanquishing the ten headed demon Ramana.

On turning left towards south the kitchen of Lord will come across. In the same corner of inner courtyard is the image of the Surya Narayana in a separate temple facing north. The black granite image of the four-armed Vishnu worshipped here is believed by some to be original of the presiding deity in his Nilamadhava manifestation.

Turning westward Kalpa-Bata, teh sacred banyan tree can be seen which ostensibly fulfills one's wishes. Devotees first offer prayer to Bata Krishna, a small image of child Krishna lying on a leaf of banyan tree,remniscent of apocalypse. Next facing North Bata-Ganesha is offered prayer. Turning furhther right devotee get glimpse of the mother goddess Bata Mangala and Shiva as Bata Mahadeva.

Dasa-Avatra on the inner walls of Nata mandira. (Here Buddha is identified as Lord Jagannatha).

Opposite to the southrn door of the Jagamohana Narasimha Temple is located, where a small image of Narasimha considered as Adi-narasimha is worshipped.Facing this temple is Mukti Mandapa, literally a covered platform that provides emancipation. This is an assembly of learned scholars well versed in sastras. The Shankara charya of Puri has the trditionl privileage of presiding over the learned assembly.

As the devotee moves towards the temple of Bimla, passes by Rohini Kunda. A small stone tub with image of the sacred crow (Kaka Bhusanda) and the chakra, wheel of Vishnu etched at the bottom. The temple of Bimla, a manifestation of the Mother Goddess and considered as shakti of Lord Jagannath. The holy food offered to Shri Jagannath is sanctified only after it is presented to Bimala and then acquires the character of Mahaprasad. Next is the temple of goddess Lakshmi known as kamala and Sri. Laksmi, daughter of the Ocean and goddess of wealth and prosperity. The sacred food in srimandiara is supposed to be cooked by none other than Mahalakshmi herself.

Garuda Stambha

The open and wide courtyard inside is called Pata Agana. Seven steps from there leads to the main temple through Nata Mandapa ( Dancing Hall). Garuda Stambha stands right infront of Bhoga Mandapa at the extreme eastern end of the Nata Mandapa. A beautiful chlorite image of Garuda, the celestial carrier-eagle of Jagannath sits with bent knees on the top of pillar in a small platform offering prayers to his lord.From Garuda Stambha, one can get a clear view of the presiding Many consider that getting a glimpse of the presiding deities from the this location is the best form of darshan. Infront of Nata Mandapa, on its west is the Jagamohana, the Audience Hall, via Jaya Bijaya Dwara.Jaya and Bijaya are the celestial doorkeepers of Vishnu. A round Wooden bar is normally placed across the entry to the sanctrum and is known as the Chandana Argali.

Ratna Simhasana

The sacred eleveted platform on which the deities are installed is known as Ratna Simhasana.For this Devotee has to cross Kalahata Dwara, the door of the innermost sanctrum of the Srimandira. On Ratna Simhasana , Lord Balabhadra, the elder Brother is manifest at right with Subbhadra in the middle and Jagannath to her left. At the extreme left of the platform stands Sudarshana, the celestial wheel of Vishnu-Krishna-Jagannath, represented here as short pillar.In addition to three principal deities and Sudarshana, three other small images that of Bhudevi,Sridevi and Nilamadhava are also placed on the Ratna Simhasana, are known as Saptadha Murti.

Neela Chakra

The metal wheel at the top of temple is known as Neela Chakra (Blue Wheel). The wheel is made of eight metals comprising of iron, copper, zinc, mercury, lead, brass, silver and gold. It's circumferance is about 36 feet and it is so designed that there is a wheel within the wheel. The circumferance of the inner wheel is about 26 feet. Eight hubs join together the inner and the outer wheels. There are decorative designs on the outer wheel. The thickness of the Neela Chakra is 2 inches.

Anand Bajara situated in the north eastern corner of the outer courtyard. Food that is offered to Shri Jagannath can be bought here. The variety and huge quantity of food offered are unique among any temple.As saying goes fifty-six tyoes of food items are offered to the deities and Jagannath. He is also known as Chappanabhogi.

The Kitchen

His kitchen is considered as the largest and the biggest kitchen in the world. It is situated south-east direction of the outer compound of Srimandir. The length of the kitchen is 150 feet, breadth is 100 feet and height is about 20 feet. It consists of 32 rooms with 250 earthen ovens within these. Around 600 cooks (Suaras) and 400 assistants serve here everyday for preparing Lord's food.

There are three types of hearths in the kitchen of Srimandir such as Anna Chuli, Ahia Chuli and Pitha Chuli. The dimension of hearths where rice is prepared are 4' x 2.5' x 2'. The rectangular space created between two rice hearths is called Ahia. All types of Dal and Curry items are cooked in Ahia Chuli. There are only ten numbers of Pitha Chuli in the temple kitchen which are made of cement. The fire of this kitchen is known as Vaishnava Agni, because it is the fire in the kitchen of Lord Jagannath and used to serve Vishnu Himself. It is never put out.

It is believed that Mahalaxmi cooks in the kitchen Herself; all are felt to be Her servants. As she is not attentive to the cooking on the days when Lord Jagannath is said to be sick before Rath Yatra, the food is less tasty. During Ratha Yatra when Lord Jagannath is in Sri Gundicha Temple, She is said to have no zeal to cook and so the food is tasteless. It is also said that if mother Laxmi is displeased with the preparations by the cooks, a dog will appear mysteriously on the temple grounds. If the dog is seen, all the food must be buried and prepared again. As no dog is allowed to enter the temple, this dog is said to be Kutama Chandi, a tantric goddess in charge of purification of food.

Four types of cooking are prepared in the kitchen of Srimandir. Those are Bhimapaka, Nalapaka, Souripaka and Gouripaka. The items of Bhimapaka consist Badatiana, Gudakhuara, Pakala Nadia Rasa, Purapitha, Biripitha and Gudakanji. In Nalapaka, items like Sakara, Tianalapara, Adanga and different types of sweet drinks are prepared. Souripaka items include Mahura, Deshialubhaja, Kadalibhaja, Adapachedi, Ghialabanga and varieties of cakes. In Gouripaka, Mugatiana, Leutia, Kosala and Madhura Lalita Saga items are cooked.

In the kitchen of Srimandir, four types of rice are prepared. These are Salianna, Khiraanna, Dadhianna and Sitalaanna. Sunakhila rice cooks along with ghee and Phalatabha Kharada Lavana to get Salianna. For getting Khiraanna alongwith Basumati rice; cow milk, ghee and Kharada Lavana are mixed and cooked. Similarly plain rice mixed with curd; Dadhianna is prepared and rice mixed with Tabharasa and Kharada Lavana; Sitalaanna is prepared.

The food in the temple kitchen is prepared in such a pure way and with deep devotion; great spiritual impact is felt, both by those who cook and those who eat. The unique feature is that, clay pots are placed in a special earthen oven, five in numbers, one on the top of another. Yet the one on the top is cooked first.

There are two wells in the temple complex for the purpose of supplying water to the kitchen. These are named as Ganga and Jamuna and both are near the kitchen itself. The radius of the wells is more than 10 feet and depth is 100 feet each.

All the necessary commodities for the temple kitchen are brought from Mahalaxmi Bhandar, which runs by Suara Nijoga Cooperative Society. The earthen pots used for cooking foods are provided by Kumbhakara Nijoga Society. The potters of Kumbharapara and nearby areas supply these pots the temple kitchen. The required timber for the kitchen was previously supplied from different forests of the State. But after nationalisation of forests, the State Forest Corporation is providing timbers for cooking purpose.

Daily 5,000 persons may be fed, but on big festival days, one to ten million may be accommodated. The temple kitchen of Lord Jagannath is therefore considered to be the biggest hotel in the world, serving all without reservation or previous notice.

Odissi - The Classical Dance Form of Orissa

Odissi, one of the eight classical dance of India which is an ancient, breathtakingly beautiful form of sacred dance,originally developed in the temple of shri Jagannatha at Puri as a form of worship and meditation.Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The Konark temple have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. As the temples are the bases of cultural life in this state, Odissi form of classical dance has been closely connected with their day-to-day activities. Strongly linked with the religious movements of Orissa, It shows traces of Buddhism, Tantrism (Buddhist and Brahmanical), Saivism, and Vaisnavism, not only in the figures depicted but also in the messages conveyed.In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas.

It is particularly distinguished from other classical Indian dance forms by the importance it places upon the tribhangi (literally: three parts break), the independent movement of head, chest and pelvis, and upon the basic square stance known as chauka.

Origin of Odissi
Odissi was first encountered outside the temple in the early part of the 16th century. This dance tradition was kept alive by the devadasis.Those who were attached to the Jagannath Temple were all Vaishnavitcs and those at Bhubaneswar were attached to Shaivite temples. Before the introduction of the Gitagovinda in temples, the devadasi used to dance to the recitation of hymns and bols of talas. But after Gitagovinda became part and parcel of the rituals, tile devadasis performed abhinaya with different bhavas and rasas. The dance remained an oral tradition through the beginning of the 20th century, in possession of semi-literates who were not aware of the existing Sanskrit texts on dance. Consequently, the movement patterns, body positions, and hand gestures existed in diluted, even debilitated, form without the technical terminology that structures a dance format.

The Themes of Odissi
Odissi is dependent on Geeta Govinda rather than any other theme. It is generally believed that the composers fixed the tala and raga of each song as in those of Geeta Govinda. Mostly these romantic compositions are set in a slow tempo and the dancer gets full scope to depict the emotion by gestures and softer movements to bring home to the audience the full meaning of the compositions. Odissi dependence on Geeta Govinda has enhanced its popularity and made it acceptable to the masses. The dance while portraying the bhava brings out the myriad nuances of the Shrinagar rasa. The songs used in this item deal with devotion or Bhakti Ras. The themes of Odissi almost commonly revolve around Krishna. The Ashtapadis of Jayadev are a very common theme. Although incorporating a range of emotions and mythologies, the eternal union of Radha and Krishna (Gita Govinda) is central to the abhinaya here.

Odissi utilizes powerful, energetic footwork (tandava), juxtaposed with sinuous, graceful feminine postures and movements (Lasya). Handed down from teacher to disciple for thousands of years, Odissi emphasizes, and in fact, centers on spirituality and devotion.

Traditional Odissi repertoire consists of:

Mangalacharan: An invocational piece. After paying homage to Lord Jagganath a sloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the ‘bhumi pranam’, begging forgiveness of mother earth for stamping on her, and the ‘trikhandi pranam’ or threefold salutation - above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.

Battu Nrutya: A dance piece offered to the Lord of dance - Lord Shiva in his ‘Batuka Bhairava’ form. This piece brings out the essence of Odissi.

Pallavi: A pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork.

Abhinaya: A poem telling a story conveyed to the audience through mudra or hand gestures (the language of Indian classical dance), facial expression and body movement.

Dashavataar: A dance piece describing the ten incarnations of the Lord Vishnu with verses taken from the Gita Govinda.

Moksha: A pure dance item with only the mardal-pakhawaj (percussion) accompaniment - the dance of liberation.

The essence of Odissi lies in its sculpturesque quality; most of its beautiful poses bear close resemblance with the sculptures of the famous temples, which once nourished the art. This dance form demands tremendous physical fitness but also lays equal emphasis on sensitive facial expression more on the swatika bhava. The movements are so vigorous that it makes the dancer emotional, tired and exhausted. He falls in to a trance or becomes senseless at the end of the performance. So this style of dance maintains a perfect balance between physical, mental and spiritual aspects of dance.
Music in Odissi
The musical accompaniment of Odissi dance is essentially the same as the music of Orissa itself. In Odissi, the words used in Drutala (speedy rhymes) are called padis and Navatala`s (nine rhymes) use is also the special feature of Odissi music. Besides, even Dasatala (ten rhymes) and Egaratala (eleven rhymes) are commonly used in Odissi music. Odissi music is a unique blend of North and South Indian classical music but with its own distinct qualities. Today, the Odissi musical orchestra consists of the Guru who mostly is also the pakhawaj player accompanied with one or two vocalists. There are a number of musical instruments used to accompany the Odissi dance. One of the most important is the pakhawaj, also known as the mardal. Other instruments, which are commonly used, are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura.


Costume and Jewellery in Odissi
Odissi dance attire like other Indian Classical dance has a stitched costume (pyjama style) made out of the special Orissa handloom silk sarees, draped in a practical and comfortable style. The sarees have their special borders and intricate designs that set them apart from other sarees. Earlier, there were no stitched costumes but only the sarees used to be draped around. But over a period of time, the stitched costume has been used more frequently because of its convenience.


The Odissi dance jewellery is in silver. The dancer wears a choker, a longer necklace, armlets, bracelets, a belt, anklets, bells, earrings, each placed on the bun, and a seenthi (apiece placed on the hair and forehead). An Odissi dancer has elaborate hair-do in a knot adorned with the "Tahiya" which represents a temple tower. Garlands of flowers are woven into the hair. Palms and soles are painted with a red liquid called the "Alta". They also wear the head ornament called the "Mathami", representing flowers around the hair, and apiece protruding upward, representing the top of a temple. The headpiece used to be made out of real flowers, but for practical reasons, it has been replaced with the Styrofoam. They also wear the "Kapa" on the ears, "Kankana" on the wrists, armlets called "Bahichudi" or "Tayila" and an elaborate belt. She wears on her ankles bells strung together on a single cord. A "Padaka-tilaka", a necklace with a locket rests on the chest.

Shri Jagatnnatha, the name symbolizes in oriya "jagata ra natha" The Lord of the universe worshipped with his elder brother Lord Balabhadra, sister Subhadra and the mighty Sudarshana chakra (disk). Jagannatha is Black (inscrutability) in color, Lord Balabhadra is white (enlightenment) in color, sister Subhadra is yellow (goodness) in color and lord Sudarshan is red in color, hence representing all the four races of world.However the darkness in color of Jagannatha is a special of its kind,it can be considered either absence of any color or the coalescence of all colors in one. In Sanskrit 'Ja' represents Jagannatha,'Ga' represents Balabhadra, 'Nna' represents Subhadra and 'Tha' represents Sudarsan. So Jagannatha means the union of all four deities of the Jagannatha Temple. Every thing related to Jagnnatha is in grandeour in its proximity. He is known as the Bada Thakura (The Chief among all Gods). His Temple is known as the Bada Deula (The main temple among the temples). The road in front of the temple is known as Bada Danda (Grand Road). The Sea of puri is known as the Mahodadhi (Great Ocean).

We found a lot of theories regarding the origin of Jagannath, below is the belief that most widely followed. After Vishnu saved the world from deluge in his Baraha incarnation,Brahma asked him of the means of salvation of all creatures.Vishnu said, "I am being worshipped as Nilamadhava on the Blue Hill in Purushottama Khetra, Puri.The highest form of salvation could be attained by beholding me there." This was a cause of apprehension to Yama,the God of death,as he could not discharge his duties properly.On Yama's request Vishnu assured him to disappear from the Blue Hill after some days.

The sacred Rohini Kunda was situated to the west of the all bestowing kalpa-vriksa whose branches had spread of Nilamadhava was situated to the west of the Kunda,known to all excepting the Savara who worshiped him and the Gods who came to pay their daily oblations at his altar.In Satyayuga the pious and learned king Indradyumna of the Solar dynasty ruled in Avanti.He was anxious to see Vishnu.A wandering sannyasin informed him that God Himself was being worshipped as Purushottama on the Blue Hill in Odra desh.Indradyumna sent Vidyapati,the brother of his family priest,to Utkala as his emissary.After travelling far and wide, found the Lord manifested as Nilamadhava, and being secretly worshipped by Vishwavasu, the chief of Savara.Vidyapati got married to Lalita, daughter of Viswavasu and got all the information about Neelamadhava. Viswavasu was reluctant to reveal the presence of the Lord but took Vidyapati blind folded to the secret location at the persistence request of his daughter Lalita.Vidyapati had secretly carried some mustard seeds in a cloth bag with a small hole.After returning with his king he could find all the way to the site where the Lord had manifested himself.

In the meanwhile in order to fulfill His pledge given to Yama,Lord Vishnu made the Shrine of Nilamadhava invisible under the sand.When Indradyumna accompanied by Narada set out with a vast army and reached the borders of the Kingdom of Utkala,its King informed him about the disappearance of Nilamadhava.Indradyumna was completely disheartened with the news,but sage Narada assured him that God would reappear in the form of Daru (a log of wood).Thus being consoled Indradyumna visited the Blue Hill and offered a thousand aswamedha sacrifices there.

On the closing day of the aswamedha sacrifice Nilamadhava appeared to Indradyumna in a vision and at his bathing time the attendants came and informed him that a Daru with four branches was flating on the sea.It could be brought to ashore only after Vidyapati and Visvavasu jointly pulled it. King Indradyumna, desirous of constructing idols of Lord sighted the sacred wood according to search made as per the command of the Lord Jagannath to King Indradyumna but wood could not be sized, and form of Lords could not be conceived. But one offered flower, from the head of the deity, Kakatpur Mangala, on advice of sage Narada, was taken and touched on the sacred wood, Daru Brahma. It facilitated the splitting of wood, into three parts for construction of idols Lord Jagannath, Subhadra and Balabhadra according to requirement. .While discussing with Narada about fashioning the log into an image,the king heared a voice from heaven saying, "God Himself will make His own image.The aged carpenter standing with his tools should be maintained about the construction of the image." Things were arranged accordingly and at the end of the allotted time Jagannath,Balabhadra,Subhadra and Sudarsana appeared on the Mahavedi.Being directed by a voice from heaven the king adorned the images with silken cloth and painted them with their respective colours.He also built a temple one thousand cubits high to install the images.

Another story says the origin of Puri temple is associated with the demise of Lord Krishna.After deciding to end his earthly existence he was hiding in a creeper. His dangling feet was mistaken as the ears of deer by Jara, the chief of hunters.After realizing Jara was inconsolable but Krishna explained to him that this was pre-ordained. He advised Jara to inform Pandavas. The heart portion of Krishna's body remained unburnt and set afloat on the sea. This later appeared as log and was brought to shore of Puri by the legendary king Indradyumna.

An old man appeared at the scene and offered to make images of Lord with a condition that he would make the image of lord with a condition that he would work inside a closed chamber for fifteen days and the door should not be opened under any circumstances. However on not hearing any sound from inside after several days the queen of Indradumnya persuaded to open the door.There was no trace of old man and images of deities in unfinished state without feet and hand.

Indradyumna went to heaven to invite Brahma to consecrate the temple.Brahma was listening to music,and the time that intervened amounted to many ages of mortal like.In the meanwhile a king named Gala had taken possession of the temple and was worshiping an image of Madhava in it.at last Brahma came.Indradyumna and Gala were reconciled to each other on the evidence of ancient tortoises who had seen the construction and pious crow kaka Bhusunda.The image of Madhava was shifted to a smaller temple.Brahma consecrated the temple and the images.After leaving the temple in charge of Gala,indradyumna proceeded to Brahmaloka.Indradumnya prayed the Lord to make him childless so that none of his progeny could claim the temple as his or her own.

History opines that the present temple of Lord Jagannath has been built very shortly. The historians of Orissa are all apparently in this conclusion that the present temple of Lord Jagannath at Puri has been built by Anagabhima Deva, the worthy descendant of the king Chodaganga Deva, the founder of Ganga dynasty in Orissa in 12th Century A.D. It does not mean that the temples of all other deities by which the Jagannath temple is surrounded are equally old. Some of them might have been built very recently. But the origial temple of Lord Jagannath repaired as well as reconstructed by the King Jajati Keshari, one of the famous emperors of Keshari dynasty in Orissa perhaps in fourteenth century A.D. Also it can be traced from the hostory that the cult of Lord Jagannath is originally of the 2nd century B.C. when Kharavela was the emperor of Kalinga, another old name of Orissa. The historic Elephant Cave (Hati Ghumpha) inscription of this emperor on the top of Udayagiri (a hill) near to Bhubaneswar indicates regarding the Jinashan which is identified with Lord Jagannath. But the reliable as well as historical matter is available from the 9th century.

There was the influence of Buddhism on the cult of the Savara deity.Buddhism was established in Orissa after Ashok.Who are the three deities,Jagannath,Balabhadra and Subhadra?They can not be Ram,Laxman and Sita because Subhadra is sister and Balabhadra is elder brother.The three deities have a lot of similarity with the Buddhist triad: Buddha,Dharma and Sangha.Jagannath is Buddha,Balabhadra stands for Sangha.Is n't it necessary to have an elderly person to run a Sangha(Monastic order)? Subhadra is the symbol of Dharma.Sauvada is Dharma in Buddhist philosophy and is perceived in the feminine form.Further,there are not three,but four deities-Chaturdha Murti-including Sudarsana Chakra.What does he stand for?Chakra occurs as a symbol in all religions.The wheel in Buddhism is the symbol of religious essence.The ideas which Buddha preached to the five ascetics at Sarnath are treated as central to the establishment of Dharma Chakra.In the Hindu religion,Chakra is the weapon of Vishnu.What is the shape of the Chakra?It is "Akhanda Mandalakaram"-Unbroken like a sphere.It has neither a beginning nor an end.Therefore it is Sanatana Dharma,eternal religion.No one can say when religion began and when it would end.