Holy Pilgrimage – 12 (Konark, Kateel, Kolhapur and Kollur) at 3:07 AM

37. Kateel

Kateel or Kateelu (Tulu/Kannada:   is a temple town in the Dakshina Kannada district of Karnataka, India. It is about 29 kilometers away from Mangaluru and is considered one of the holiest temple towns in Hinduism. The main attraction of the town is the temple of Sri Durga Parameshwari.
The holy temple is situated on an islet in the middle of the sacred river Nandini amidst panoramic scenes and fascinating greenery. Thousands of devotees visit Kateel every day to seek blessings from goddess Durga Parameshwari.
Mangalore ⁱ/ˈmæŋɡəlɔr/ (also called Kuḍla in Tulu, Maṅgaḷūru in Kannada, Koḍiyāl in Konkani, or Maikāla in Beary bashe) is the chief port city of the Indian state of Karnataka. It is located about 350 kilometres (220 mi) west of the state capital, Bangalore. Mangalore lies between the Arabian Sea and the Western Ghat mountain ranges, and is the administrative headquarters of the Dakshina Kannada (formerly South Canara) district in south western Karnataka.

Origins of Kateel

There is a story behind this spiritual place. A severe drought once hit this place and it did not rain for years. Even Brahmins were forced to eat meat and people were on the verge of giving up their principles. The great Sage Jabali was disturbed by this situation. Through his 'Jnana Drishti' (divine vision), Jabali realized the root cause of all this. He found that Arunasura, the 'rakshasa', who had escaped from death and fled when Goddess Durga killed Shumbhasura, had increased his life span by following the teachings of his Guru. He had forcefully stopped people from performing any yagas or yajnas as a revenge against the 'devas', and this has resulted in drought and scarcity for years.
Jabali wanted to put an end to human sufferings and decided to perform a yajna to please the devas. He requested Devendra to permit him to take Kamadhenu, the holy cow, for the yajna. Devendra asked Jabali to take Kamadhenu's daughter Nandini instead. Nandini refused to accompany Jabali to earth since evil was predominant there. After a lot of arguments, Jabali, in his anger, cursed that she be born as a river on earth. Realizing her mistake, Nandini prayed for mercy. Relenting, Jabali advised her to pray to Goddess Durga to redeem her from the curse, Nandini appealed to Goddess Durga who appeared to her and informed her that though Nandini would be born as a river in fulfillment of the curse, she, Durga herself, would be born as Nandini's daughter at the center of the river, and in the process, Nandini would attain purification. On Magha shudda Poornima, Nandini emerged as a river from Kanakagiri. Jabali performed his yajna. The devas were pleased and the earth was once again happy.
Elsewhere Arunasura acquired a boon from Brahma that he would not suffer death from any two legged or four legged being or from any weapon. Brahma also powered him with the Gayatri Mantra. After acquiring these powers, Arunasura defeated the devas and conquered heaven. The Devas prayed Goddess Durga for help.
One day Goddess appeared in Arunasura's garden as a beautiful woman. Seeing the lady, Arunasura approached her. The beautiful lady reminded him that she had killed Shumbhasura and from whom Arunasura had escaped death. Arunasura got angry and tried to kill the woman with sword. The Goddess suddenly turned into a stone. Arunasura slashed the stone with the sword, then a vast swarm of bees emerged from the stone and stung him.
The bees (dhumbi) stung him repeatedly till his last breath. Devas led by Jabali performed abhisheka with tender coconut water and requested the Bhramarambika (Queen of the bees) to bless the world. Goddess Durga then appeared in her 'Soumya Roopa' (calm form) in the middle of the river, where the present structure of the temple imparts its glory to the world. In Samskrutam(is true for other Indian languages originated from it) language, 'Kati' means 'center' (midway between the 'Kanakagiri' the place where the river was born, and the end, Pavanje, where the river joins the sea) and 'Ila' means area (land). Thus the place is called 'Kati + lla' Kateel.

Temple Trust

The temple's trust also encourages several forms of arts. Notable among them is the Yakshagana, dashavathara mela which was started as an offering to the goddess. During dussera, navaratri and other annual celebrations several sacred rituals like, Chandika havana, thula bhaara, veda parayana, hari kathas etc. are performed

38. Kolhapur

Kolhapur ( कोल्हा-पूर (help·info)) is a city situated in the southwest part of the state of Maharashtra, India. Kolhapur serves as the headquarters of the Kolhapur district. Before Independence, it was a 19 Gun Salute Princely state ruled by the Bhosale Chhatrapatis of the Maratha Empire. Kolhapur assumes a place amongst the cities having highest per capita income in the country and it's one of the fastest growing cities in Maharashtra. kolhapur is known as 'dakshin kashi', 'historical capital of maharashtra state', 'door of konkan 'as well as 'city of wrestlers ' and 'city of arts' It's also known as city of palaces and temples. Kolhapur is situated on the banks of the river Panchganga and is the location of the Temple of Mahalakshmi, a Hindu goddess

Unique features

• There are 51 "SHAKTI PEETH " in India overall ,and Kolhapur "Mahalaxmi Shakti Peeth " is the 4th shaktipeeth in India by spiritual importance.
• Kolhapur hosts the worlds tallest Lord Ganesh idol(85 feet) at Chinmaya Mission near top-Sambhapur.
• The statue of "Queen Tararani" riding a horse which is located in Kolhapur, is the only statue in the world because of its unique architectural design. The statue is balanced on only 2 legs of the horse.
• The "Hotel Shalini Palace" in Kolhapur is the only Palace hotel in India and is included in the heritage buildings.
• 'Khasbaug Maidan' in Kolhapur is the first wrestling stadium in India based on a Roman style built by King Shahu Maharaj of Kolhapur and hosts seating arrangement for 20,000 people.
• India's first biometric ATM : Warana co-op bank, Kolhapur has developed Maharashtra's as well as India's first biometric ATM which uses PALM VEIN AUTHENTICATION technology for ATM transactions.
• India's first small size car "MEERA" was conceptualised, designed and built in kolhapur by Mr.Shankarrao Kulkarni.The car can be compared with todays TATA Nano.
• Kolhapur disctrict has the largest number of bio-gas plants in india(97,000 plants overall) thus ,winning the national award for consecutively 3 times.

History

Ancient history

According to Hindu mythology, Kolhapura was settled by Kolhasura, a demon who was later killed by Mahalakshmi to relieve the local populace. However, honouring the demon's dying wish, the city was named after him. Kolhapur finds mentions in Devi Gita, the final and most important chapter of the Srimad Devi Bhagawatam, as one the important places of Shakti "Kollamma" worship, "Devi spoke:..."O King of Mountains! Still I am now telling something out of My affection to My Bhaktas. Hear. There is a great place of pilgrimage named Kollapura in the southern country. Here the Devi Laksmi always dwells...."^[1]
During 940-1212 CE, it was the capital of the Shilahara dynasty of Kolhapur.^[2] An inscription at Teradal mentions that king Gonka was healed from snakebite by a Jain monk and Gonka built a temple of Lord Neminath. Many Jain temples in this region build in the next few centuries are called Gonka-Jinalya after him. During the reign of Bhoja I, a dynamic Acharya Maghanandi helped establish an institute at Rupanarayana-Basadi. Several kings and nobles of the dynasty were disciples of Maghanandi. Maghanandi is often called Siddhanta-chakravarti i.e. the great master of the scriptures, Gandaraditya I was his disciple. He is sometimes called "Kolapuriya" or walyaa to distinguish him from many other Acharyas with the name Maghanandi.
Kolhapur was the site of intense confrontation between the Western Chalukyas and the Chola kings Rajadhiraja Chola and his younger brother Rajendra Chola II.^[3] Following the Battle of Koppam in 1052, Rajendra Chola II marched on to Kolhapur and erected a jayastambha or victory pillar in the city.^[3]
The Kopeshwar (Shiva) Temple, located in Kolhapur district, was built by Shilahara King Gandaraditya, Vijayaditya and Bhoj-II between 1109 and 1178 AD.^{[citation needed]} It is nearly capital in time of Queen Tararani who is daughter in law of Chh. Shivaji Maharaj. Kolhapur, historically had a major influence and connections with the prevalent kingdoms of Greece/Rome, the availability of bust of Poseidon, the Greek god of sea at one of the excavated site of Kolhapur shows the relations of trade and co-operation shared with both kingdoms^{[citation needed]}

Modern history

Kolhapur is one of the oldest civilizations of the country. Kolhapur's cultural history is dated back to 17th Century. Situated at the banks of River Panchganga, Kolhapur is called as Dakshin Kashi (Kashi is a holy city in Northern India and Dakhin means South) for its spiritual history.
India’s pre independence history is in fact, history of kings and their kingdoms. Kolhapur is not different from the others, it has also seen and gone under the various regimes and since the emergence of the Marathas, the place was being ruled by the Bhosale dynasty. Chhatrapati Shahu Maharaj was not among the male ancestor of this dynasty as he was born as the eldest son of Appasahed Ghatge (Chief of Kagal-Senior)on 26 June 1874 and was named as Yashwatrao Ghatge. Those were the days around the Holi [an Indian Festival related with colour and usually celebrated in the months of March – April] in the year 1884, when Rani Shrimant Anandibai Raje Saheb decided to adopt him and made him Chhatrapati of the princely state of Kolhapur.
Chhatrapati Shahu Maharaj ascended the throne of Kolhapur in 1894, bringing an end to the 50 year old regency administration. His reign of 28 years from 1894 to 1922 ushered A new era of social, cultural and economic reforms for which he is remembered as one of the greatest rulers in Maharashtra.
The most benevolent and progressive rule of only 28 years from 1894 to 1922 of Rajarshi Chhatrapati Shahu Maharaj of Kolhapur was a distinct epoch and an important landmark in the history of modern Maharashtra as it engendered a number of socio-religious movements of a revolutionary nature like the Vedokta Movement, the Satya Shodhak Movement. These movements were mainly responsible for effecting social change on a large scale and for helping the rise of new social leadership in Maharashtra. It is pertinent to note that as Chhatrapati Shahu Maharaj was the prominent central figure and the powerful moving force of these movements, he exerted tremendous influence on planning a social revival and on changing the course of social history in Maharashtra.

Kolhapur as a princely state

Transportation

Kolhapur city is located in south-westen Maharashtra. It has an elevation of 569 metres (1867 ft) which is higher than that of Pune. By road, Kolhapur is 228 km south of Pune, 615 km north-west of Bangalore and 530 km west of Hyderabad.^[4] The nearest cities and towns within Maharashtra are Ichalkaranji (20 km), Kagal (17 km), Sangli (50 km), and Miraj (45 km).

Railway

Kolhapur railway station known as Chattrapati Shahu Maharaj Terminus is connected to major Indian cities like Mumbai, Pune, Hyderabad, Bengaluru, Solapur, Nagpur, Tirupati, Ahmedabad, Delhi, Dhanbad through express trains. There are daily passenger shuttle services between Kolhapur and Miraj.

Road

Kolhapur is connected to Mumbai to the north and Bengaluru to the south by National Highway 4 which is further extended to Chennai. The city is one of the primary destinations on this highway. Kolhapur has three state transport bus stands namely Central Bus Stand (CBS), Rankala Bus Stand & Sambhajinagar Bus Stand.
Local mode of transport includes bus service by Kolhapur Municipal Transport(KMT) which covers all routes inside the city. For quick transport Auto Rikshaw is popular mode of transport.

Air

  Kolhapur Airport

Kolhapur has a domestic airport at Ujalaiwadi, 9 km South-east from the city. Its sole regular service to Mumbai by Kingfisher Airlines ceased in November 2011 when the airline pulled out of several towns like Kolhapur due to its financial crisis

 

Notable Personalities from kolhapur

• Rajarshi Chhatrapati Shahu Maharaj
• V.Shantaram (Film director, producer, actor, screenwriter)
• Ranjit Desai (Novelist,writer)
• Shivaji Sawant, Marathi author
• Bhalji Pendharkar- Father of Indian film industry (film producer ,director)
• Baburao Painter ( film Director, Painter, Sculptor)
• Suryakant Mandare, Marathi movie actor
• Chandrakant Mandare, Marathi movie actor
• Dr.Jayant Naralikar (astrophysicist -scientist ,Novelist,writer)
• Dr.Vasant Gowarikar (Scientist)
• Vijayendra Ghatge (actor)
• Sagarika Ghatge (actress)
• Padmini Kolhapure (actress)
• Nanda (actress)
• Arun Sarnaik, Marathi movie actor
• Shreepati Khanchnale, First Hind kesari winner (wrestler)
• Dadu Chougule, Hind kesari (wrestler)
• Vinod Chougule, Maharashtra kesari (wrestler)
• Durga Khote (actor, film producer)
• Master Vinayak (actor ,film director)
• Anshuman joshi(actor -marathi movie 'shala' fame)
• Dr. Satish Patki (national award-winning gynecologist, medical research founder)
• Ganpat Patil (Marathi movie actor)
• V.A. Alias Tatyasaheb Kore (Sahakar Maharshi, creator of Warananagar)
• Dr.Suraj pawar (renowned Cancer specialist)

Temples

• Mahalakshmi Temple
• Khidrapur (Kopeshwar Shiva Temple)
• Jyotiba
• Narsinhwadi
• Kashi Vishveshwar Temple
• Bahubali
• Katyani Devi
• Tembalai alias Tryamboli
• Radha Krishna Temple
• Kaneri Math
• Shankaracharya Cloister (Math)
• Siddhivinayak Ganapati Mandir

Mahalakshmi Temple, Kolhapur

The Shri Mahalakshmi Temple of Kolhapur in Maharashtra, India, is one of the Shakti Peethas listed in various puranas of Hinduism. According to these writings, a Shakti Peetha is a place associated with Shakti, the goddess of power. The Kolhapur Shakti Peetha is of special religious significance being one of the six places where it is believed that one can either obtain salvation from desires or have them fulfilled. The temple takes its name from Mahalakshmi, the consort of Vishnu, and it is believed that the divine couple reside in the area.
The temple belongs architecturally to the Kannada Chalukya empire and may have been first built in circa 700 AD. Mounted on a stone platform, the image of the four armed and crowned goddess is made of gemstone and weighs about 40 kilograms. The image of Mahalakshmi carved in black stone is 3 feet in height. The Shri Yantra is carved on one of the walls in the temple. A stone lion, the vahana of the goddess, stands behind the statue. The crown contains an image of the Sheshnag — the serpent of Vishnu. In Her four hands, the deity of Mahalakshmi holds objects of symbolic value. The lower right hand holds a mhalunga (a citrus fruit), in the upper right, a large mace (kaumodaki) with its head touching the ground, in the upper left a shield (khetaka), and in the lower left, a bowl (panpatra). Unlike most Hindu sacred images, which face north or east, the image of this deity looks west (Pashchim). There is a small open window on the western wall, through which the light of the setting sun falls on the face of the image for three days around the 21st of each March and September. There are a number of other shrines in the courtyard to the Navagrahas, Surya, Mahishasuramardini, Vitthal-Rakhmai, Shiva, Vishnu, Tulja Bhavani and others. Some of these images date back to the 11th century, while some are of recent origin. Also located in the courtyard is the temple tank Manikarnika Kund, on whose bank is a shrine to Visweshwar Mahadev.
Worship Structure: Five worship services are offered each day. The first one is at 5 am, and it involves the waking of the deity with a Kakada - torch, to the accompaniment of hymns. The second worship service at 8 am involves the offeirng of the Shodashopachara pooja consisting of 16 elements. The afternoon and evening services and the Shejaarati pooja constitute the three other services.
Special Events: A festival image of the deity is taken out in procession around the temple courtyard each Friday, and on full moon days.

Significance

t is said that both Shri Lakshmi and Shri Vishnu reside in the Karveer area eternally and shall not leave even at the time of Mahaprayakala. This region is therefore also referred to as an avimuktakshetra. Karveer region is eternally blessed and is believed to be held by Mother Jagdambe in her right hand, and so this region is protected from all destruction. Lord Vishnu himself adores this region more than Vaikiuntha or the Kshirsagar since it is the home of his consort Lakshmi. The greatness of this region has therefore attracted many sages and devotees, the blessings and affections showered by this region on its devotees are immeasurable. It is believed that Prabhu Shri Dattatreya still comes here every noon to seek alms.
The statue of the Goddess Mahalakshmi is made of gemstone and is considered to be at least 5000 to 6000 years old. It weighs about 40 kilos. The precious stones that adorn the deity indicate the antiquity of the idol. The platform of the Goddess Mahalakshmi is made of stone. The statue of the Goddess has four arms. In the lower right hand she holds the matulinga, (a fruit similar to and ordinary lemon but much larger in size). In the upper right hand she holds large mace, kaumodaks, its head touching the ground. In the upper left hand she holds the shield or khetaka, and while in the lower one she holds a bowl, panpatra.
On the crown of the Goddess Mahalakshmi are a cobra-hood and a Shiva-ling with a Yoni around it. Standing behind is the Goddess' vahana-a lion. Almost all the idols of the God face the north or the east directions, whereas here the Idol faces the west. The small window on the western wall which is open. Once a year, the rays of the Sun during sunset falls on the face of the image through this window. This period lasts for three days, each time, the 21st, of the months of March and September. This period is considered extremely auspicious, the Devotees throng the temple on all the three evenings the temple for a glimpse of the beautiful image bathing in the golden rays of the setting sun.

Kirnotsav Celebrations

Kirnotsav in Mahalakshmi Temple Kolhapur (festival of Sun rays) is celebrated when the sun rays fall directly on the deity's Mahalakshmi idol at the time of sunset on the following days :
31 January & 9 November : Sun rays fall directly on the feet of the deity. 1 February & 10 November : Sun rays fall directly on the chest of the deity. 2 February & 11 November : Sun rays fall directly on the entire body of the deity.

Festival

It is not surprising that even the rays of a setting sun pay homage to Goddess Mahalakshmi as the life of human being revolves around illumination and prosperity. But it is the wonder of wise architects who built the temple of Mahalakshmi at kolhapur that the rays of the setting Sun, bow at the feet of the Goddess through a window, for a while before vanishing. This special event is celebrated by thousands of people as ‘KiranUtsav’. Every year this festival is celebrated on the following days at evening: 31 January 1 February 2 February 9 November 10 November 11 November
It is said that Sun god gives respect to Mahalaxmi for three days in a year. This will be on the occasion of RathaSaptami (which will be somewhere in January every year). This will be for 3 days. The first day, ray falls on the feet, on second day, on the middle portion of the deity and on the third day on the face. Its the architect's excellence, which is been done more than 1000years ago, can still be observed. Later during the time of Peshwas, the temple was repaired. Though, many invasions over this part of India has caused some damages of the beautiful idols, which are all around the temple.

 

39. Kollur

Kolluru or Kollur is a small temple-town situated about 37 kilometres (23 mi) from Kundapur Town, about 133 kilometres (83 mi) away from Mangalore City in Karnataka state in the southern part of India. This village lies at the foot of the Western Ghats and is famous for the Mookambika temple, a Hindu pilgrim center.
Kollur also called Kollapura one of the important places of pilgrimage in Karnataka State, which has a temple dedicated to Mookambika.
The goddess is called Mookambika as she is said to have slain the demon Mookasura. The goddess is described as in the form of a jyotirlinga incorporating both Shiva and Shakti. The panchaloha image of the goddess on Shri Chakra is stated to have been consecrated by Shri Adi Shankaracharya. The Divine Mother is said to be a manifestation of trigunas or triple forms. The shikhara of the temple which is well gilded with gold is said to have been donated by Sankanna Savantha. Around the chief shrine of Mookambika, there are many other shrines.
The idol of Chandramaulishvara is said to have been installed by Shri Adi Shankara. The temple has been renovated by Keladi rulers. The temple of Mookambika and other shrines attract a large number of pilgrims from other states too.

Myths and legends

Kollur is an important seat of Shakti worship. The temple is rich in puranic lore.
Legend goes that a Maharishi (monk) Kola was enchanted with nature’s beauty and decided to perform a penance on a rock near the Agnitheertham. Lord Shiva, delighted with Kola, appeared before him and blessed him. The Maharishi wished for the welfare of mankind and nothing else. The Lord, happy with Kola, granted him his wish. He assured that a swayambu (autogenetic) Linga would appear for his daily worship. However, Kola wanted to worship Devi also. So, a swarna rekha (gold line) appeared on the Lingam, signifying Shakti. Thus, Shiva and Shakti are worshipped together in the Lingam. Besides this, a unique feature is that the other Gods and Goddess of the Hindu pantheon also believed to reside in aroopa (non-form) in the Linga. It is thus believed to be an abode of the entire celestial congregation. It is believed that Adi Shankaracharya had a vision of Sri Mookambika Devi and installed the deity here. The legend goes that Adi Shankara meditated at Kodachadri hills and Devi incarnated before him asking for his wish. He revealed his wish to install the Devi idol in a place in Kerala to worship where he wanted. Devi agreed but put forward a challenge that she will follow Shankara and he should not look back till he reaches his destination. But to test Shankara, Devi deliberately stopped the voice of her anklets when they reached Kollur whereupon Shankara turned and looked back because of doubt. Devi then asked Shankara to install her vigraha, just as he sees her, at that very location in Kollur. Another legend says that original temple is at Kodachadri peak,(1343 mt) which is at a distance of about 20 km from Kollur, also visible as a large mountain peak in front of the temple. There also a small temple dedicated to Mookambika near Kodachadri peak.^{[citation needed]}

Main Temple of Mookambika

Kollur is believed to be one of the seven pilgrim centres created by Parashurama, a Hindu mythological figure. The temple is devoted to the Hindu goddess Parvathi, wife of Shiva. While the other pilgrimages created by Parashurama are devoted to Lord Shiva, Lord Subramanya and Lord Ganesha, this one is devoted to goddess Parvathi. The temple is constructed on the banks of a tributary of souparnika river and in the middle of forest. Just in front of the temple, Kodachadri peak and mountain is visible, which is a delightful sight. It is believed that original temple is on top of Kodachadri peak, and to make it convenient for devotees to offer pooja, the temple is constructed at Kollur. Devotees from all over South India visit this temple.

 The Mookambika Devi Temple (Kannada: ಮೂಕಾಂಬಿಕಾ ದೇವಿ) of Kollur, dedicated to Mookambika Devi, is one of the most prominent shrines for people in the state of Karnataka and Kerala, India. Located at a distance of 147 km from Mangalore in the picturesque surroundings presented by the banks of the river Sauparnika and the lush green Kodachadri hill, the temple attracts millions of pilgrims every year.
The temple holds immense relevance for the devotees as it is associated with revered Hindu saint and Vedic scholar Adi Shankara. It is believed that Adi Shankara perceived the idea of having a Mookambika Devi temple at Kollur and himself installed the idol of deity in the temple some 1200 years ago.
People have high faith in Mookambika Devi Temple as Goddess Mookambika is regarded as a manifestation of Shakti, Saraswathi and Mahalakshmi. In fact the Temple of Mookambika Devi is one of the 'Seven Muktisthala' pilgrimage sites in Karnataka which are Kollur, Udupi, Subrahmanya, Kumbashi, Koteshwara, Shankaranarayana and Gokarna. [1]
During the Navratri celebrations in October, the temple is crowded with devotees. Janmashtami or Krishna jayanthi is also a popular festival here. It is believed that the Swayambu Linga appeared on this day.

Legends

According to the legends, Kola Maharshi who was doing penance here, was disturbed by a demon who was also engaged in doing penance to please Lord Shiva, to get a boon from Him. To prevent the demon from fulfilling his evil desire, Adi Shakti made him dumb (mooka) and when the Lord appeared before him, he could not ask for anything. Thereupon he got enraged and soon began troubling Kola Maharshi who prayed to Adi Shakti for deliverance. Adi Shakti who vanquished demon Mookasura, was extolled by the gods as Mookambika. At Kola Maharshi's prayer, the Divine Mother accompanied by all the Gods; stayed there to be perpetually worshipped by the devotees.[

t is believed that Sri Adi Shankaracharya had a vision of Sri Mookambika Devi and he installed the deity here. The story goes like this - Adi Shankara meditated at Kudajaadri hills and Devi incarnated before him asking for his wish. He revealed his wish to incorporate Devi to a place in Kerala to worship when he and the people of his homeland wanted. Devi agreed and put forward a challenge that she will follow Shankara and he should not look back until he reaches his destination. But to test Shankara, Devi deliberately paused and when he couldn't hear Devi's anklets, Shankara suddenly turned around. Devi then stopped following him and asked Shankara to install her vigraha where she stopped.
The people of Kerala are still the largest group of pilgrims arriving at Mookambika Temple. They come here and pray to the Goddess, and also paying homage to Shree Shankara, who had installed the vigraha there. The Vidyaarambha (Starting of education) custom is the much opted for by the arriving devotees, as Devi is thought to exist mainly in the form of a Goddess, delivering Jnyaana (Knowledge).

Swayambhu Lingam

The Swayambhulingam at Sri Mookambika temple is said to have come into existence when Parameshwara drew the chakra with his toe. This chakra is believed to be the Udhbava linga which has drawn its strength due its proximity to all divine beings. It is also very sacred since Kollur Devi is supposed to be merged with this Suyambulinga and that has made her acquire great power.
Here she is said to have formed part of Lingam along with Lakshmi and Saraswathi on one side and Lord Brahma, Vishnu and Parameshwara on the other side. Apart from this there is also an carved image of Shiva said to be injured by during the clash with Arjuna known as Kiratharjuna and this is on the right side of this Suyambulinga.[3]

The Sanctum

The deity is in the form of Jyotir-Linga incorporating both Shiva and Shakthi. The Panchaloha image (five element mixed metal) of the Goddess on Shree Chakra is stated to have been consecrated by Adi Shankaracharya during his visit to this place. It is believed that the original place of the goddess is on top of Kodachadri Peak (3880') and as it was very difficult for ordinary people to trek all the way to Kodachadri, Shankaracharya reestablished the temple at Kollur.
The history of idol installation at Kollur Mookambika temple is nearly 1200 years old. King Halugallu Veera Sangayya is said to have laid the valuable stone to cover the inside premises and this was done by him under the instructions of Rani Chennamaji. The temple comprises the sanctorum, a hall and the Lakshmi Mantapa at the rear. This Lakshmi Mandapam has four pillars and it is about 135 feet long. These four pillars are adorned with splendidly carved images of Indian deities.
There is an exquisite sculpture of Panchamukha Ganesha here. The beautiful sculptures are figurines of various Gods and Goddesses such as Subrahmanya, Naga, Mahishasura Mardini and the mother goddess or Devi in various forms. The Garbagriha at this Kollur temple is contemporary and artistic in value. A huge deepasthambam stands tall with its base like a tortoise’s head. This Deepasthambam has 21 beautiful concentric circles which appear very divine and similar to that of Makara jothi when all the lamps are lit and viewed from distance.
The Navrathri festival begins with an invocation to Lord Ganesha who is on this pillar. As we move inside the corridor beyond the Garbhagriha there are four types of idols of Ganapathi. Among them are Dasa bhuja Ganapathi and Balamuri Ganapathi which is beautifully sculpted using white marble.

Then there is an image of a serpent that is worshipped by all Devi’s devotees in order to wade off the evil effects of Sarpodosha and other doshas. And it is believed that when touched while offering prayers, the devotees are said to be blessed with good fortune.
The outer side of the pradikshana we see the idol of Lord Muruga followed by the idol of Saraswathi, Pranalingeswara, Prartheshwar and Mukya Prana. This Mukya Prana is placed just opposite to Veerabadrasamy shrine to strike a balance for its dangerous appearance. This Veerabadrasamy is said to be the presiding deity here.[4]
Thus, the other deities in the Kollur Mookambika temple include Shri Subramanya, Shri Partheeshwara, Shri Panchamukha Ganapathi, Shri Chandramouleeshwara, Shri Pranalingeshwara, Shri Nanjundeshwara, Shri Anjaneya, Shri Venkataramana, Shri Thulasi Gopalakrishna.

Pooja Timings and Practices

At this temple prayers are offered following two traditions, one as per the sacrificial ritual and the other as per Vijay Yagna Shastra. The poojas are performed at the temple every day in the morning, afternoon, evening, and night. Among the rituals that are performed and celebrated, Navarathri is considered very important and the other is Brahmotsava and both are celebrated with great pomp and gaiety. This Navarathri is also is known as Sharannavarathri that falls during October month. The Goddess is said to grant boons to many an ardent devotee during these days.[5]
Vidhyarambha or the initiation of small children in the letters of the alphabet of their mother tongue is carried out in the Saraswathi mantapa on the last day of the Navarathri festival. However Vidhyaramba can be conducted on any suitable day at the temple. Annadhana is offered as a free offering to the devotees every afternoon and in the evenings.

Festivals

Nithyothsavam

Nithyotsava ritual is performed every day at Devi Mookambika temple. Janmastami announces the birth of Lord Krishna. From then on till Navrathri every year, various rituals are followed at the ancient Mandapam. Sri Mookambikai is taken on the palanquin around the temple and thereafter ashtavadhana seva is conducted at Saraswathi mandapam that which is located inside the temple.

Varothsavaml

Every Friday, at around six p.m. between Janmashtami and Navrathri, varothsavam celebrations are held. Before the Pradoshakala pooja the Devi Mookambika’s idol is carried to the olaga mandapam in the north. Here the ashtavadhana seva is offered to the goddess Mookambika.

Pakshotsavam

This fortnightly ritual involves carrying the deity on all new moon days and full moon days. After the night bali pooja the Devi’s idol is carried to the Saraswathi Mandapam located on the west. This street procession is rigorously followed and there after the idol goes back and the Kashaya Thirtha is given to the devotees.

Varshika Uthsavam

Every Year in the month of March, the annual ritual is observed at this glorious temple and it is celebrated for ten full days. On the moola nakshatra day the Brahma Rathothsava is undertaken for Kollur Devi.

Navarathri Festival

Navarathri festival at Kollur Mookambika Temple is considered to be the most auspicious time to offer prayers to goddess Shakthi and its other forms. Millions of pilgrims visit the temple on these nine days. In South India, it is a belief that Vijayadashami is an auspicious day for small children to start their education called Vidya Arambam, hence pilgrims throng the temple from 4 am onwards for aksharabhishekam.
Transport
Kollur Mookambika Temple is connected by road and there are a lot of buses plying from Mangalore, Udupi and Kundapura. Private buses ply at every half an hour from Mangalore. There are also State Transport Buses, and some buses from cities of Kerala run by the Kerala RTC. The road traverses the Mookambika Wild Life Sanctuary, and is in good navigable condition throughout the year.
The nearest Railway station is Kundapura. Another station, Baindur- BYNR, has been rechrishtened as Mookambika Road Railway Station, with many trains stopping there. The Baindur station has now been the major hub of rail travel on the way to Kollur Mookambika Temple.
You can also use the luxury bus services that ply from Mumbai to Mangalore - which has a stop at Baindur or Kundapura on the state highway, and take an auto from here or pre-arrange for a taxi from Kollur. The temple is just a half-hour drive from Kundapura.
The nearest Airport is Mangalore Airport at Bajpei, Mangalore, which is about 120 km away.

Music festival

For the past 30 years, Yesudas has been coming to Kollur Mookambika temple on his birthday to sing keerthans of Saraswati devi. The music festival was started from his 60th birthday. The nine-day music festival begins every January at the temple.
On Sunday, January 10, 2010 he celebrated his 70th birthday at the temple with ‘Sangeetharchana’ (classical devotional songs), along with 70 singers before goddess Mookambika. The Sangeetharchana included ‘Pancharatna gayana’ of Thyagaraja’s poems. He also took part in the Vidyarambha function

40. Konark
Konark (Oriya:  ) (Sanskrit: कोणार्क) is a small town in the Puri district in the state of Orissa, India. It lies on the coast by the Bay of Bengal, 65 kilometers from the capital of the state, Bhubaneswar^[1] . It is the site of the 13th-century Sun Temple, also known as the Black Pagoda, built in black granite during the reign of Narasimhadeva-I. The temple is a World Heritage Site^[2] . The temple is now mostly in ruins, and a collection of its sculptures is housed in the Sun Temple Museum, which is run by the Archaeological Survey of India.
Konark is also home to an annual dance festival called Konark Dance Festival, held every December, devoted to classical Indian dance forms, including the traditional classical dance of Orissa, Odissi.^[3]
On 16^th of February 1980, Konark lay directly on the path of a total solar eclipse

Etymology

The name Konârka is derived from the Sanskrit word Kona (meaning angle) and word Arka (meaning sun) in reference to the temple which was dedicated to the Sun god Surya.^[2]

The Sun Temple

The Sun Temple was built in the 13^th century and designed as a gigantic chariot of the Sun God, Surya, with twelve pairs of ornamented wheels pulled by seven horses. Some of the wheels are 3 meters wide. Only six of the seven horse still stand today.^[2] The temple fell into disuse after an envoy of Jahangir descreted the temple in the early 17th century.^[2]
The Sun temple belongs to the Kalingan school of Indian temple architecture. The alignment of the Sun Temple is along the East-West direction. The inner sanctum or vimana used to be surmounted by a tower or shikara but it was razed in the 19th century. The audience hall or jahamogana still stands and comprises majority of the ruins. The roof of the dance hall or natmandir has fallen off. It stands at the eastern end of the ruins on a raised platform.^[2]

History

In 1559, Mukunda Gajapati came to throne in Cuttack. He aligned himself as an ally of Akbar and an enemy of the Sultan of Bengal, Sulaiman Khan Karrani. After a few battles, Orissa finally fell. The fall was also aided by the internal turmoil of the state. In 1568, the Konark temple was said damaged by the army of Kalapahad, a general of the Sultan.^[7] Kalapahad is also said to be responsible for damages to several other temples during the conquest.

Tourism

Nearby tourist spots

• Chandrabhaga 3.5 km From Konark Temple
• Ramachandi 8 km From Konark Temple
• Bhagabati Temple, Konark 2 km From Konark Temple
• Kuruma 6 km From Konark Temple
• Puri 35 km From Konark Temple
• Beleswar
• Chilika 70 km From Konark Temple
• Bhubaneswar
• Gopalpur Beach
• Kenduli Sasan

Surya

Surya (Devanagari: सूर्य Sūrya, "the Supreme Light"^[2]) Suraya or Phra Athit is the chief solar deity in Hinduism. The term Surya also refers to the Sun, in general.
Surya is the chief of the Navagraha, Indian "Classical planets" and important elements of Hindu astrology. He is often depicted riding a chariot harnessed by seven horses or one horse with seven heads,^[1] which represent the seven colours of the rainbow or the seven chakras. He also presides over Sunday. Surya is regarded as the Supreme Deity by Saura sect, which is now a very small following. Smartas worship him as the five primary forms of God.
Surya as the Sun is worshipped at dawn by most Hindus and has many temples dedicated to him across India. He also enjoys worship as a part of the Navagraha. He is especially worshipped in the Hindu festivals of Ratha Saptami, Makar Sankranti, Chhath and Samba Dashami.

Depictions

Sometimes, Surya is depicted with two hands holding a lotus in both; sometimes he has four hands holding a lotus, chakra, a conch, and a mace.

Arka form

Surya is worshiped in various forms throughout India. One of the most important epithet (form) of 'Surya' is 'Arka'. The "Arka" form is worshiped mostly in North India and Eastern parts of India. The temples dedicated to 'Arka' form of Surya are Konarka Temple in Orissa, Uttararka and Lolarka in Uttar Pradesh, Balarka in Rajasthan. There was an old sun-temple in (Bahraich, Uttar Pradesh) named Balarka Surya Mandir, built by King Tilokchand Arkawanshi in early 10th Century AD. The temple was destroyed in the 14th Century AD during Turkish invasions.
The grandest Surya temple is Konark surya temples built by Ganga Vamsi king Narasimha Dev of Orissa.
The Sun Temple, Modhera, at Modhera in Gujarat, is a temple dedicated to the Hindu Sun-God, Surya. It was built in 1026 AD by King Bhimdev of the Solanki dynasty.

'Mitra' form of Surya

'Surya' is also known as 'Mitra' (meaning friend) for his life nourishing properties. Mitra form of 'Surya' had been worshiped mostly in Gujarat, where a clan of Suryawanshi kings was known as Mitrawanshi kshatriyas, also known by its distorted name Maitrakas (मैत्रक)

Religious role and relationships

Vivasvata (Surya) had three queens; Saranyu (also called Saraniya, Saranya, Sanjna, or Sangya), Ragyi, and Prabha. Saranyu was the mother of Vaivasvata Manu or Sraddhadeva Manu (the seventh, i.e. present Manu) and the twins Yama (the Lord of Death) and his sister Yami. She also bore him the twins known as the Ashvins, divine horsemen and physicians to the Devas. Saranyu, being unable to bear the extreme radiance of Surya, created a superficial entity from her shadow called Chhaya and instructed her to act as Surya's wife in her absence. Chhaya mothered two sons – Savarni Manu (the eighth, i.e. next Manu) and Shani (the planet Saturn), and two daughters – Tapti and Vishti.^[3] He also has a son, Revanta, or Raivata, by Ragyi.
Interestingly, Surya's two sons Shani and Yama are responsible for the judgment of human life. Shani gives us the results of one's deeds through one's life through appropriate punishments and rewards while Yama grants the results of one's deeds after death.^[4]
In Ramayana, Surya is described as father of the King Sugriva, who helped Rama and Lakshmana in defeating the demon king Ravana. He also trains Hanuman as his guru. The Suryavanshi / Suryavansha dynasty of kings, Rama being one of them, also claims descent from Surya.
In the Mahabharata, Princess Kunti receives instruction for a mantra from the sage Durvasa; by reciting which, she would be able to summon any god and bear a child by him. Incredulous of the power of this mantra, Kunti unwittingly tests it on Surya, but when Surya appears, she gets scared and requests him to go back. However, Surya has an obligation to fulfil the mantra before returning. Surya miraculously causes Kunti to bear the child immediately whilst retaining her virginity so that she, as an unmarried princess, need not face any embarrassment or be subjected to questions from society. Kunti feels compelled to abandon the child, Karna, who grows up to become one of the central characters in the great battle of Kurukshetra.

In Zoroastrianism

In the Vedas, Surya is frequently referred to as "the eye of Mitra, Varuna, and Agni" (RV 1.115.1, RV 6.51.1, RV 7.63.1, WYV 4.35, WYV 7.42, WYV 13.46, AV 13.2.35). This bears striking similarities to Zoroastrian scriptures, where the Sun is described as "the eye of Ahura Mazda".

In astrology

In Vedic astrology Surya is considered a mild malefic on account of his hot, dry nature. Surya represents soul, will-power, fame, the eyes, general vitality, courage, kingship, father, highly placed persons and authority. He is exalted in the sign Mesha(Aries) and is in decline in the sign Tula (Libra). The strongest placement for Surya is directly overhead in the 10th house, and on the angles (the 1st, 5th and 9th houses). Surya is lord of three nakshatras or lunar mansions: Krittika, Uttara Phalguni and Uttara Ashadha. Surya has the following associations: the colors – copper or red, the metals – gold or brass, the gemstone – ruby, the direction – east and the season of summer. The food grain associated with him (one of Nava Dhanyas) is wheat.

Sun Temples

There are Surya temples all across India. The most famous is the World Heritage Site of the Sun Temple, Konark, Orissa. Besides Konark, there are another two sun temples in Orissa called Biranchi Narayan Sun Temple^[5] in Buguda, Ganjam District and Biranchinarayan Temple, Palia, Bhadrak.
There are sun temples in Modhera, Gujarat, created by King Bhimdev of the Solanki dynasty, in Arasavalli, Andhra Pradesh, Kanakaditya Temple in Kasheli (Dist. Sindhudurg) – Maharashtra, near the famous Galtaji's temple in Jaipur, Rajasthan and in clusters of Navagraha temples in Tamil Nadu and Assam. The Sun Temple at Martand in Jammu and Kashmir and Sun Temple of Multan are temples which were destroyed. The only and the famous Surya temple in northern India is Kattarmal surya mandir in Almora District,Uttarakhand created by King kattarmal in 12 century.
The Gurjars were essentially sun worshipers and some of the sun temples were erected by them during medieval period.^[6] The sun temple known as Jayaditya was constructed by Gurjar king of Nandipuri, Jayabhatta II.This temple is situated at Kotipura near Kapika in the Bharukachha district.^[7] The Surya temple of Bhinmal known as Jagaswami Surya temple was also erected during this period

Festivals

Makara Sankaranti is most Widely celebrated Hindu festival dedicated to the Sun God. It is celebrated as Makara Sankranti throughout India and as Pongal by Tamils all over the world. People thank the Sun God for ensuring a good harvest and dedicate the first grain to him.
Chhath is another Hindu Festival dedicated to Surya. It is believed to started by Karna, the son of Surya, who became a great warrior and fought against the Pandavas in the Kurukshetra War.
Samba Dashami is another festival celebrated in the eastern coastal state of Orissa, India in the honour of Samba, the son of Krishna who got cured from leprosy by praying to Surya.
Ratha Saptami is a Hindu festival that falls on the Seventh day (Saptami) of the bright half of the Hindu month Maagha.^[9] This day is also known as Surya Jayanti because it celebrates the power of the Sun God who is believed to be an incarnation of Lord Vishnu. Lord Vishnu in his form as Surya is usually worshiped on this day. Usually, Rathasapthami begins in households with a purification bath by holding a few calotropis leaves on one's head and shoulders while bathing and chanting a verse which is supposed to invoke the benevolence of the Lord in all that one takes up the rest of the year. It also involves doing a puja with the ritual 'Naivedyam', flowers and fruits. On this day at Tirumala (Andhra Pradesh), Lord Venkateshwara (Balaji) is mounted on Seven Vahanas (Celestial Vehicles) one after the other starting from Suryaprabha Vahana and ending with Chandraprabha Vahana. Other Vahanas are Hanumad vahana, Garuda Vahana, Peddashesha Vahana, Kalpavruksha vahana and Sarvabhupala vahana. Also chakrasnanam is performed on the same day. A devotee enjoys watching the Lord mounted on different vahanas in one day which is popularly known as Okka roju Brahmotsavam (Single day celebrations).

In Mahabharata

Surya is not mentioned as one of the Adityas in the first book of the epic Mahabarata, but may be regarded as the compound of the twelve solar deities mentioned there, to be understood in connection to the Jyotisha vedic astrology: Dhatri, Mitra, Aryaman, Sakra, Varuna, Amsa, Vaga, Vivaswat, Usha, Savitri, Tvashtri, Vishnu.
In Mahabharata, Surya is referred to as father of Karna, as he begot the latter on Kunti when she was virgin. With his grace and in order that Kunti is not spoken of badly in the world, Kunti could retain virginhood even after delivering a child.

Surya namaskara, or the "Sun salutation"

A well-known Hindu mode of worship of the devotional movements of Surya is done at the rising of the Sun, known as Sūrya namaskāra (sun salutation). Ten yogic postures are assumed in successive flowing movements to complete one namaskar. Twelve sacred Hindu mantras uttered and for each mantra one complete namaskar is done. Ancient practice is to do 108 namaskaras a day. It is considered most auspicious by Hindus to do this.
The 12 mantras for surya namaskara:

1.   aum mitrāya namah
2.   aum ravayé namah
3.   aum sūryāya namah
4. aum bhānavé namah
5.  aum khagāya namah
6.  aum pushné namah
7.  aum hiranyagarbhāya namah
8.  aum mārichāyé namah
9.  aum ādityāya namah
10.  aum sāvitré namah
11.  aum ārkāya namah
12.  aum bhāskarāya namah

The mantra frequently recited to praise the Surya comes from the Rig Veda, Book 1 Hymn 35:

Throughout the dusky firmament advancing, laying to rest the immortal and the mortal,

Borne in his golden chariot he cometh, Savitar, God who looks on every creature.^{[citation needed]}

The Gayatri Mantra is also associated with Surya.^[11] Another hymn associated with Surya is the Aditya Hridayam, recited by the great sage Agastya to Rama on the warfield before the fight with Ravana.

The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of Emperor Kharavela. Flanked by two queens, Emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it got attached with the temple culture of Orissa. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Orissa. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi first originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It has the closest resemblance with sculptures of the Indian temples.

 Chilika Lake

Chilka Lake (Chilika Lake) is a brackish water lagoon, spread over the Puri, Khurda and Ganjam districts of Orissa state on the east coast of India, at the mouth of the Daya River, flowing into the Bay of Bengal, covering an area of over 1,100 km². It is the largest coastal lagoon in India and the second largest lagoon in the World.^[3][4]
It is the largest wintering ground for migratory birds on the Indian sub-continent. The lake is home to a number of threatened species of plants and animals.^[5][6] The lake is an ecosystem with large fishery resources. It sustains more than 150,000 fisher–folk living in 132 villages on the shore and islands.
The lagoon hosts over 160 species of birds in the peak migratory season. Birds from as far as the Caspian Sea, Lake Baikal, Aral Sea and other remote parts of Russia, Kirghiz steppes of Mongolia, Central and southeast Asia, Ladakh and Himalayas come here. These birds travel great distances; migratory birds probably follow much longer routes than the straight lines, possibly up to 12,000 km, to reach Chilika Lake.
In 1981, Chilika Lake was designated the first Indian wetland of international importance under the Ramsar Convention.^[9][10]
According to a survey, 45 percent of the birds are terrestrial in nature, 32 percent are waterfowl, and 23 percent are waders. The Lagoon is also home to 14 types of raptors. Around 135 rare and endangered Irrawaddy Dolphins have also been reported. Plus, the lagoon supports about 37 species of reptiles and amphibians.
The highly productive chilika lagoon eco-system with its rich fishery resources sustains the livelihood for many fisher men who live in and near the Lagoon. The water spread area of the Lagoon ranges between 1165 to 906 km² during the monsoon and summer respectively. A 32 km long, narrow, outer channel connects the lagoon to the Bay of Bengal, near the village Motto, recently a new mouth was opened by CDA which has brought a new lease of life to the lagoon.
Microalgae, marine seaweeds, sea grasses, fishes and crabs also flourish in the brackish water of the Chilika Lagoon.

Nalbana Island is the core area of the Ramsar designated wetlands of Chilika Lake

Beleswar

Site of a Shaivite shrine, Beleswar, located 20 km from Puri, has an interesting beach. The road from the Jagannath Temple (Puri) up to the beach is covered with thick casuarina trees where travelers can watch the beautiful sunset, which dips into the sea. While travelling from puri to Beleshwar, you will find village Beladala, which people are known for their simplicity and welcoming attitude towards travellers, and Nuanai, the great river, one of the greatest places around Puri for picnic.

Kenduli Sasan

Kenduli Sasan in Khurda district is the birthplace of the Sanskrit lyricist, Jayadeva. Medieval Indian literature refer to this place by the name Kenduvilva.

Location

Kenduli Sasan is a village in the banks of the Prachi river in Khurda district. It is only a few kilometers way from the holy city of Puri in Orissa, the seat of worship of the Hindu deity Jagannath. It has recently been recognized as the birthplace of the well-known Sanskrit lyricist, Jayadev

History

Kenduli Sasan has recently been identified as the birthplace of Jayadeva, who was born into an Utkala Brahmin family. It is also where the poet spent his childhood, with his parents, Bhojadeva and Vamavati. Being called a Sasan (which in ancient Orissa referred to a seat of Brahmin learning), this village appears to have been a center for Hindu literature during the 10th and 11th centuries. Jayadeva himself refers to his birthplace in the seventh song of the Gita Govinda as Kenduvilva, located by the sea^[7

Prachi valley has a long history of worshipping Madhava, another name for Krishna. During Jayadeva's period, it was known as a religious place dominated by Vaishnava Brahmins. Even today, the village of Kenduli Sasan is replete with images of Madhava. This indicates that the great poet must have been influenced by the devotional milieu in that area when he composed his magnum opus, the Gita Govinda

Tourism

Kenduli Sasan has several brick temples and sculptures dating back to the time of Jayadeva in the tenth and eleventh centuries A.D., including those of deities Bhairava, Madhava, Ambika, Jageswari. Of significance is an image with heavy matted hair, and both arms broken, which is revered by the local people as the sage 'Jayadeva'.^[7][9] There is also a nearby temple with an image of Nrusimha carrying Lakshmi on his lap, one of the peculiarities of the Ganga dynasty. In fact, several such temples belonging to Jayadeva's period have also been excavated here by the Archaeological Survey of India.^[10]
The Jayadeva Sanskrutika Parishad, a cultural organization, has established a museum here containing images and other archaeological relics excavated here. An annual cultural function in honor of the poet Jayadeva is organized at Kenduli.

Bhubaneswar

 

Bhubaneswar  , also spelled Bhubaneshwar (Bhubanēsbara  pronunciation (help·info)), is the capital of the Indian state of Orissa, officially spelled Odisha. The city has a history of over 3000 years starting with the Mahamegha-bahana Chedi dynasty (around 2^nd century BCE) who had Sisupalgarh near present-day Bhubaneswar as their capital. Bhubaneswar has been known by names such as Toshali, Kalinga Nagari, Nagar Kalinga, Ekamra Kanan, Ekamra Kshetra and Mandira Malini Nagari (City of Temples) otherwise known as the Temple City of India.^[3][4][5] Bhubaneswar, literally means the Lord (Eeswar) of the Universe (Bhuban).^[6] It is the largest city of Orissa, and a center of economic and religious importance in the region today.
Bhubaneswar's possession of magnificent sculptures and architectural heritage, coupled with the sanctity as Ekamrakshetra make this one of the great religious centres of Orissa since early medieval days.^[7] With its large number of Hindu temples (over 600 in number), which span the entire spectrum of Kalinga architecture, Bhubaneswar is often referred to as a Temple City of India and together with Puri and Konark it forms the Swarna Tribhuja (Golden Triangle); one of the most visited destinations in East India.
The modern city of Bhubaneswar was designed by the German architect Otto Königsberger in 1946. Like Jamshedpur, Chandigarh, it is one of the first planned cities of modern India.^[8][9] With the Chandaka reserve forest on the fringes, the city with an abundance of in-city greenery, is one of the cleanest and greenest cities of India.
Bhubaneswar replaced Cuttack as the political capital of the state of Orissa in 1948, a year after India gained its independence from Britain. Bhubaneswar and Cuttack are often commonly together known as the twin-cities of Orissa. The metropolitan area formed by the twin cities has a 2011 population of 1.4 million.^[10][11] Bhubaneswar is categorized as a Tier-2 city. An emerging Information Technology (IT) hub, the boom in the metals and metal processing industries have made Bhubaneswar one of the fastest developing cities of India in recent years.

 

Transport

The headquarters of the Orissa State Road Transport Corporation (OSRTC) is located in Bhubaneswar. The Bhubaneswar Bus Station is situated at Barmunda, 8 km from the city centre and OSRTC and other private operators run a fleet of buses connecting Bhubaneswar to cities in Orissa and with the neighboring states of Andhra Pradesh, Jharkhand, West Bengal and Chhattisgarh. Bhubaneswar is connected to the rest of the country by National Highways-NH 5, which is a part of the Kolkata-Chennai prong of the Golden Quadrilateral and NH 203.

 Culture

Bhubaneswar is supposed to have had over a thousand temples. Although a large number of temples have given way for urban infrastructure, Bhubaneswar still abounds in temples of various deities. This has earned it the tag of the Temple City of India. The most famous ones are Lingaraj Temple, Muktesvara Temple, Rajarani Temple, Ananta Vasudeva Temple.^[23] The twin hills of Khandagiri & Udayagiri, 8 km from Bhubaneswar, served as the site of an ancient Jain monastery which was carved into cave-like chambers in the face of the hill. These caves, with artistic carvings, date back to the 2nd century BCE. Apart from the ancient temples few other important temples were built in recent times that includes Ram Mandir, Maa Kanakdurga Pitha and ISKCON temple.
There is an awareness towards preserving the ethos of Oriya culture in the form of Classical Odissi dance, handicrafts, sand artistry, sculpturing as well as theatre and music. Boundary walls and gardens are increasingly being redone to depict the folk art of the region.^[24] The Ekamra Haat is a hand-loom and handicrafts market. SRJAN, the Odissi dance academy founded by Guru Kelucharan Mohapatra the legendary Odissi dancer is located here. The Rabindra Mandap in central Bhubaneswar plays host to cultural engagements and has an amphitheatre to host theatre and private functions.

Fairs and festivals

On the day of Ashokashtami in the month of March, the image of Lingaraja (Shiva) and other deities are taken in a procession from Lingaraja Temple to the Rameshwara Temple. Hundreds of devotees participate in pulling the temple car that carries the deities. The deities remain in the Rameshwara Temple for four days.
At the end of January comes Adivasi Mela, a fair that displays the art, artifacts, tradition, culture, and music of the tribal inhabitants of Orissa.
Durga Puja is also an important festival. Various pandals are constructed throughout the city. The largest pujas are the Shahid Nagar Durga Puja, the Nayapalli Durga Puja, and the Rasulgarh Durga Puja. Lakshmi Puja at Laxmisagar near Jharapada is also very famous.
Ratha-Yatra "Temple car Festival" is the most important festival in Orissa and Bhubaneswar alike. The festival is held to commemorate Jagannath, who is said to have been the incarnation of India's revered deities, Vishnu and Krishna.

 

^Odissi

 

^History

The history of Odissi dance has been traced to an early sculptures found in the Ranigumpha caves at Udaygiri (Orissa), dating to the 2^nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Orissa.^[6]

Temple history

In Bhubaneswar, the capital city of Orissa, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2^nd century BCE, that served as a royal palace for Emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara temple in Bhubaneswar.
In the excavated ruins of the Buddhist Ratnagiri hills in Orissa, dating back to the 6^th thru 9^th centuries, several panels and icons of dance are found resembling present-day Odissi dance.
In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present day Odissi. When Orissa became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.

Manuscript evidence

Sage Bharata's Natya Shastra, written in 2^nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.
Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.
The illustrated manuscript Shilpaprakãsha deals with Oriya architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.
A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Oriya dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.
This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.

Mughal and British period

During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage in respect to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian Classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their well-deserved place in society, were forced to prostitution to survive in the changing climate of political and cultural oppression of the British.

Tradition and dancers

The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.

• Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.
• By the 6^th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Oriya dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.
• Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.^[7]

Mahari Tradition

The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.
The first evidence of the Mahari institution in Orissa comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10^th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.
Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11^th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.

Gotipua tradition

In the Oriya language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as females. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by females.^[8]

Dance vocabulary and repertoire

Traditional Odissi repertoire consists of:

Mangalacharana

An invocation piece. After paying homage to Lord Jagannath a shloka (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 (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold 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

Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Orissa. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Orissa. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.

Pallavi

A pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means “blossoming”. This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).

Abhinaya

An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Oriya language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath - an incarnation of Lord Vishnu.^[9]

Dance drama

Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.

Moksha

The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.

Odissi terminology

Alap

It is the opening section of a typical Indian classical performance. It is unmetered, improvised (within the raga) and unaccompanied (except for the drone of the Tanpura), and is started at a slow tempo.

Anadha

Hide category of the 4 musical divisions, e.g. Mardala or Pakhawaj (Drum), Tabla, and Mridangam.

Asanjukta Dhvanis

Sound created by striking the Mardala or Pakhawaj (Drum) with one hand.

Avartan(a)

One complete cycle of a taal.

Bani

Odissi term used to describe the spoken drum neumonics. During dance performances Bani are spoken by the percussionist or the guru.

Bhaga

In taal, this would be the groups the taal is divided into. Also the points on which the tali, or khali would be. e.g., Adital (Odissi) is divided into 4 groups of 4 beats. It is said that Adital has 4 Bhago. These are the measures. Odissi music term.

Bhajan

It is any type of Indian devotional song. It has no fixed form: it may be as simple as a Mantra or Kirtan or as sophisticated as the Dhrupad or Kriti with music based on classical Ragas and Talas. It is normally lyrical, expressing love for the Divine.

Chanda

In tal, this would be how the divisions of the tal are divided. e.g., in Adital (Odissi), the sixteen beats are divided into 4 groups of 4. So the Chanda for Adital is 4 + 4 + 4 + 4. This describes what the Bhagas are.

Devadasis

They were the original temple dancers who were "Servitress of God". They were dedicated to a deity or a temple. Apart from taking care of the temple and performing various rituals, these women learned and practiced Odissi dance, for dance and music were an essential part of temple worship. They enjoyed a high social status.

Gita Govinda

Poet Jayadev's famous work depicting the relationship of Radha, Krishna and Gopis in Vrindavan. Themes from this work have a great significance towards the classical arts of India.

Goti

These are barrel-shaped tension pegs made of wood which adorn the Mardala or Pakhawaj (Drum). The straps (Pitha) connecting the two apertures of the Mardala run over them. These pegs can be moved to either increase or decrease the tension of the leather membranes covering the two apertures of the Mardala and are useful in tuning it.

Gotipua

Young boys trained in the fine art of Odissi dance. The Gotipuas were allowed to leave the temple and dance for the public. The current form of Odissi is heavily influenced by the Gotipua tradition (and also the temple carvings from Orissa.)

Khanda Ukutta

When bani and ukuttas are formed together to make phrases. e.g., Kititaka gadigana. Odissi term.

Mana

The ending sequence that is repeated to designate that the ending of the piece or of a section. Typically in 3 repeats. Odissi term. People in Orissa inter change Tihai and Mano. But they mean the same.

Maharis or Devadasis

The original temple dancers of Orissa, but now extinct. This is the root of Odissi dance that was later taught to young boys, Gotipuas. The style is now modernized and work is being done to preserve it.^[10]

Odissi music

Main article: Odissi music

Odissi dance is accompanied by Odissi music, a synthesis of four classes of music,^[11][12] i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladeva Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.
Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four (34) letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.
A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas^[11][12] are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.
Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.
Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.

Costume and Jewelry

See also: Tarakashi, Sambalpuri Saree and Bomkai Saree
The jewelry is made from intricate filigree silver jewelry pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Orissa.^[13] The process of creating each piece takes the collaboration of many artisans each specialized in one step of the many that turns a lump of raw silver into a handcrafted work of art.
The jewelry pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewelry piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.
The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red colored dye called the Alta.
The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Orissa. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).
The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.
The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterized by features of traditional prints of Orissa, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.
The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.

Odissi gurus and performers

Padma Vibushan Kelucharan Mohapatra, Guru Pankaj Charan Das, Guru Deba Prasad Das and Guru Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. Sanjukta Panigrahi, the great exponent of Odissi, was a leading disciple of Guru Kelucharan Mohapatra's and popularized Odissi by performing extensively, both in India and abroad. In the mid-sixties, two other disciples of Kelucharan Mohapatra, Kumkum Mohanty and Sonal Mansingh, were best known for their performances, both in India and abroad. Shrimati Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948. This is widely upheld as the first ever performance of a classical Odissi dance item after its contemporary revival.^[14] Padma Shri Mayadhar Raut also played a major role in giving Odissi dance its classical status. He introduced Mudra Vinyoga in 1955 and Sancharibhava in the Odissi dance items, and presented on stage the enchanting Gita Govinda Ashthapadis, portraying Shringara Rasa. His notable compositions include Pashyati Dishi Dishi and Priya Charu Shile, composed in 1961.^[15][16]
Most of the present day gurus were Gotipua dancers themselves, and have trained dancers and teachers all over India and abroad. In the early fifties, the outside world began to take note of Odissi. Priyambada Mohanty Hejmadi and Dr. Susama Tej represented Orissa in the classical dance category at the Inter University Youth Festival, New Delhi, in 1954 and 1955. It was here that Dr. Charles Fabri witnessed their performances, hailed Odissi as a great classical dance form, and helped Indrani Rehman and Sonal Mansingh study it. Sadly, Priyambada Mohanty Hejmadi left for the US for 16 long years, where she hardly performed, barring a recital or two here and there. She returned to India only in the mid-nineteen seventies, by which time well known dancers had already occupied a permanent and prominent space on the Odissi horizon, and by which time Odissi had evolved considerably. The baton in India was wielded gloriously, and with outstanding success and public acclaim, by Sanjukta Panigrahi, Kumkum Mohanty and Sonal Mansingh, each of whom was a major and distinctive star.
Kelucharan Mohapatra, Pankaj Charan Das, Deba Prasad Das, Raghunath Dutta, Bandana Das, Cuckoo Meena Mohanty, Dr. Nandita Samuel, Kumkum Mohanty, Mayadhar Raut, Minati Misra, Oopali Operajita, Protima Bedi, Ritha Devi, Sanjukta Panigrahi, Sonal Mansingh and Surendranath Jena contributed notably to the propagation of Odissi, starting in the fifties, right up to the eighties and nineties: the golden years of the Odissi renaissance.
Eminent contemporary gurus and performers in alphabetic order include Aloka Kanungo, Alpana Nayak, Anandi Ramachandran, Aruna Mohanty, Bichitrananda Swain, Bijayini Satpathy, Chitralekha Patnaik, Daksha Mashruwala, Dibakar Khuntia, Dipanwita Roy, Dr. Bidisha Mohanty, Durga Charan Ranbir, Gangadhar Pradhan, Gita Mahalik, Harekrishna Behra, Ileana Citaristi, Jhelum Paranjape, Jyoti Rout, Kasturi Pattanaik, Kiran Segal, Kumkum Lal, Madhavi Mudgal, Madhumita Raut, Manoranjan Pradhan, Meera Das, Muralidhar Majhi, Nandita Behera, Natabar Maharana, Oopali Operajita, Poushali Mukherjee, Ramani Ranjan Jena, Ramli Ibrahim, Ranjana Gauhar, Ratikant Mohapatra, Ratna Roy, Sharmila Biswas, Sharmila Mukherjee, Sharon Lowen, Snehaprava Samantaray, Sonal Mansingh, Sri Mahdeva Raut, Srinath Raut, Sujata Mohapatra, Surupa Sen, Sutapa Talukdar, Trinath Maharana and several others around the world.
Some of the upcoming Odissi performers in alphabetic order are Aadya Kaktikar, Anindita Nanda, Arushi Mudgal, Ayona Bhaduri, Bani Ray, Bijay Sahoo, Devraj Patnaik, Ellora Patnaik, Kaustavi Sarkar, Kavita Dwivedi, Lingaraj Pradhan, Madhusmita Mohanty, Masako Ono, Niharika Mohanty, Pabitra Kumar Pradhan, Priyadarshini Roy, Puspita Mishra, Rahul Acharya, Rajashree Chintak Behera, Rajashri Praharaj, Rajika Puri, Ramesh Chandra Jena, Rekha Tandon, Sandhyadipa Kar, Saswat Joshi, Saswati Garai-Ghosh, Shibani Patnaik, Shipra Avantica Mehrotra, Shreelina Ghosh, Sonali Mishra, Sreyashi Dey, Srinwanti Chakrabarti, Swapnokalpa Dasgupta, Vishnu Tattva Das, Yudhistir Nayak, and several others around the world

Odissi in Popular & Mainstream Culture

In Guinness World Records

Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23^rd of Dec, 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.

Om Tat Sat

                                                        

(Continued...)                                                                                                                              

(My humble  salutations to the great devotees ,  wikisources  and Pilgrimage tourist guide for the collection