Orissa Rock (Rock Shelter)
Paintings
The findings of
rock paintings and pictographic writings in Western
part of Orissa, Vikramkhol in Jharsuguda, Manikmada
and Ushakothi in Sundergarh, Gudahandi in Kalahandi
and Jogimath in Nuapada district indicate existence of
prehistoric art in Orissa.
The paintings range from small geometrical and
floral patterns to big animal motifs and human figures
are shown hunting, fighting, dancing and doing
domestic chores. Most on the walls follow a
sequential, horizontal pattern. Colours used are red
extracted from iron, brown from copper and white from
lime compounds. The characters of the pictographic
writings appear to be a mix derived from Mohanzdaro
and Brahmi scripts. The Ravana Chhata Rock at
Sitabinji in Keonjhar district contains a painting of
very high order, depicting the procession scene of a
king riding a caparisoned elephant with soldiers
holding shafts and banners, followed by a female
attendant. This painting carries reminiscence of
Ajanta murals. Splendid murals adorn the inside of the
Jagannath Temple, the Buddha Vijay painting in the
jagamohana of the Lakshmi Temple and the Kanchi Vijay
in the jagamohana of the Jagannath temple.
Traditional Paintings of Orissa
Patachitras - The
tribal, the folk and the classical are the three streams
of the Orissan School of Painting. The classical Orissan
painting, pattachitras is painted on a specially
prepared cloth (patta), coated with earth to stiffen it
and finally finished with lacquer after painting,
producing motifs in vibrant colours. Pattas are now used
as wall hangings. The subject matter of patta paintings
are closely connected with the Jagannath cult and the
episodes from Ram and Krishna life. Pattas showing in
scenes of Rasa Lila, Vastra Haran, Kaliya Dalan images
of Lord Jagannath musical themes of eroticism, nature
and wild life and sets of ganjapa cards, small circular
cards made in sets of 96 discs, executed in vigorous
folk style are special. The traditional chitrakars
(painters) have the honour of painting the Puri temple
deities and their chariots (cars) every year.
Palm leaves (Chitra pothi)
have long been used as writing materials. An exclusive
indigenous tradition of Orissa, the craft of palm leaf
manuscripts dates back to the medieval period. With the
help of an iron pen orstylus (lohankantaka), the artist
first inscribes the text or design on the surface of
palm leaves, then applies a paste of tamarind seed, oil
and charcoal. When the residue is rubbed off, the groove
stands out distinctly. Usually the legends of the
Mahabharat and Ramayan, images of gods and goddess, the
nature and wild life themes are presented. The visual
effects are enhanced using the vibrant vegetable and
mineral colours. Romantic figures drawn on small leaves
now serve as book marks, greeting cards and playing
cards. Of late, the traditional artists clustered in the
village of Raghurajpur, about 50 km from Bhubaneswar
have revived this art from.
Originally, Pattachitra artists were settled by the
Gajapati King of Puri to paint divine trinity on
specially treated clothes to be hung inside the sanctum
of Jagannath Temple for the darshan of devotees during
Anavasar (retirement in seclusion) when the Lord steps
out of the temple alongwith brother Balabhadra and
sister Subhadra to mingle with the masses, the occasion
of annual Rath Yatra. Originating from this tradition,
this art developed and gained popularity.
The village of Dandasahi near Raghurajpur has been identified
as another centre. Ananta Moharana and his son Panu
Moharana together have added some new elements to Patta
paintings.
Orissa Tribal Paintings -
The tribal paintings are intimately related to
their religious beliefs and drawn to appease their
deities. Idital is the ethnic painting of the Saora
tribe usually depicting everyday like along -with the
concepts of retribution, punishment and rewards. The
Saora artists use right angled triangles to cast the
anthropocentric world in different moods and emotions.
The Kondhs paint the walls of their houses with
geometric patterns, called Manji Gunda while the Santal
paint the figurative designs. Wall paintings of
PaudiBhuyan reflect about agriculture whereas the wall
paintings of Juang include animals, birds and flowers |
