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Puruna Gita Ama Chira Basanta
Odia Song – About To Know The History
Odia song is the heart of Odisha. It is the well known language of Odisha, India. Every man should respect to own language and it will be in Odisha as well. We respect our mother tongue. This language very sweet to tell in Odisha. The depth of mother language it plays a parental role to opt out.
Cultures of Odisha
Lord Jagannath – Puri
Jagannath (Odia: ଜଗନ୍ନାଥ, ISO: Jagannātha; lit. ”lord of the universe”) is a deity worshipped in regional Hindu traditions in India and Bangladesh as part of a triad along with his brother Balabhadra and sister, devi Subhadra. Jagannath in Odia Hinduism is the supreme god, Purushottama, Para Brahman. As well like odia song brings also the spirit based feelings.
To most Vaishnava Hindus, particularly the Krishnaites, Jagannath is an abstract representation of Krishna, sometimes as the avatar of Krishna or Vishnu, to some Shaiva and Shakta Hindus, he is a symmetry-filled tantric form of Bhairava.
The Jagannathism (a.k.a. Odia Vaishnavism)—the culture of Lord Jagannath—was emerged in the early middle ages and later became an independent regional temple-centered tradition of Krishnaism/Vaishnavism. Odia song also tells the culture of Lord Jagannatha.
The icon of Jagannath is a carved and decorated wooden stump with large round eyes and a symmetric face, and the icon has a conspicuous absence of hands or legs.
The worship procedures, sacraments and rituals associated with Jagannath are syncretic and include rites that are uncommon in Hinduism. Unusually, the icon is made of wood and replaced with a new one at regular intervals.
The origin and evolution of Jagannath worship is unclear. Some scholars interpret hymn 10.155.3 of the Rigveda as a possible origin, but others disagree and state that it is a syncretic/synthetic deity with tribal roots.
Jagannath is considered a non-sectarian deity. He is significant regionally in the Indian states of Odisha, Chhattisgarh, West Bengal, Jharkhand, Bihar, Gujarat, Assam, Manipur and Tripura. He is also significant to the Hindus of Bangladesh. Odia song is the most compatable song of this location Odisha. The Jagannath temple in Puri, Odisha is particularly significant in Vaishnavism, and is regarded as one of the Char Dham pilgrimage sites in India.
The Jagannath temple is massive, over 61 metres (200 ft) high in the Nagara Hindu temple style, and one of the best surviving specimens of Kalinga architecture, namely Odisha art and architecture. It has been one of the major pilgrimage destinations for Hindus since about 800 CE.
The annual festival called the Ratha yatra celebrated in June or July every year in eastern states of India is dedicated to Jagannath. His image, along with the other two associated deities, is ceremoniously brought out of the sacrosanctum (Garbhagriha) of his chief temple in Jagannath Puri (Odia: Bada Deula, Odia song: Bada Deulia Bandhu, Mo Peta Podi Jaye). They are placed in a chariot which is then pulled by numerous volunteers to the Gundicha Temple, (located at a distance of nearly 3 km or 1.9 mile).
They stay there for a few days, after which they are returned to the main temple. Coinciding with the Ratha Yatra festival at Puri, similar processions are organized at Jagannath temples throughout the world. During the festive public procession of Jagannath in Puri lakhs of devotees visit Puri to see Lord Jagganath in chariot.
Konark Sun Temple
Konark Sun Temple (Konark Surya Mandir) is a 13th-century CE (year 1250) Sun temple at Konark about 35 kilometres (22 miles) northeast from Puri on the coastline of Odisha, India. The temple is attributed to king Narasimhadeva I of the Eastern Ganga Dynasty about 1250 CE.
Dedicated to the Hindu Sun God Surya, with odia song, what remains of the temple complex has the appearance of a 100-foot (30 m) high chariot with immense wheels and horses, all carved from stone.
Once over 200 feet (61 m) high, much of the temple is now in ruins, in particular the large shikara tower over the sanctuary; at one time this rose much higher than the mandapa that remains.
The structures and elements that have survived are famed for their intricate artwork, iconography, and themes, including erotic kama and mithuna scenes. Also called the Surya Devalaya, it is a classic illustration of the Odisha style of Architecture or Kalinga Architecture.
The cause of the destruction of the Konark temple is unclear and still remains a source of controversy. Theories range from natural damage to deliberate destruction of the temple in the course of being sacked several times by Muslim armies between the 15th and 17th centuries.
This temple was called the “Black Pagoda” in European sailor accounts as early as 1676 because it looked a great tiered tower which appeared black. Odia song is the innate power to show the culture of the Odisha.
Similarly, the Jagannath Temple in Puri was called the “White Pagoda”. Both temples served as important landmarks for sailors in the Bay of Bengal. The temple that exists today was partially restored by the conservation efforts of British India-era archaeological teams.
Declared a UNESCO world heritage site in 1984, it remains a major pilgrimage site for Hindus, who gather here every year for the Chandrabhaga Mela around the month of February. Konark Sun Temple is depicted on the reverse side of the Indian currency note of 10 rupees to signify its importance to Indian cultural heritage.
Odishee (Odia: ଓଡ଼ିଶୀ), also referred to as Odishee in older literature of odia song, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha – an eastern coastal state of India. Odishee, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannatha).
Odishee performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism). The theoretical foundations of Odishee trace to the ancient Sanskrit text Natya Shastra, its existence in antiquity evidenced by the dance poses in the sculptures of Odishee Hindu temples, and archeological sites related to Hinduism, Buddhism and Jainism. It was suppressed under the British Rule.
The suppression was protested by the Indians, followed by its revival, reconstruction and expansion since India gained independence from the colonial rule.
Odishee is traditionally odia song and dance-drama genre of performance art, where the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the Hindu texts, using symbolic costumes, body movement, abhinaya (expressions) and mudras (gestures and sign language) set out in ancient Sanskrit literature.
Classical Odia literature & the Gitagovinda set to traditional Odishee music are used for the abhinaya.
Odishee is learnt and performed as a composite of basic dance motif called the Bhangas (symmetric body bends, stance). It involves lower (footwork), mid (torso) and upper (hand and head) as three sources of perfecting expression and audience engagement with geometric symmetry and rhythmic musical resonance.
An Odishee performance repertoire includes invocation, nritta (pure dance), nritya (expressive dance), natya (dance drama) and moksha (dance climax connoting freedom of the soul and spiritual release).
Traditional Odishee exists in two major styles, the first perfected by women and focussed on solemn, spiritual temple dance (maharis); odia song the second perfected by boys dressed as girls (gotipuas) which diversified to include athletic and acrobatic moves, and were performed from festive occasions in temples to general folksy entertainment.
Modern Odishee productions by Indian artists have presented a diverse range of experimental ideas, culture fusion, themes and plays. Odishee was the only Indian dance form present in Michael Jackson’s 1991 hit single Black or White.
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