Gita Govinda

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Orissa Review * July - 2009

Jayadeva and Gitagovinda
Ajit Kumar Tripathy
Part-I
Historical Perspective
Towards the second half of the eleventh
century AD the Indian society was in a phase of a
directionless transition. Jainism and Buddhism
were clearly on the wane but were not
extinguished tot ally. The Jain appeal to
nonviolence, austerity and simplicity and the
Buddhist appeal of social equality for all those
who were exploited and tortured by the excesses
of militant but decadent Brahminism, were still
strong.
The Saivites after Adiguru Sankaracharya
had taken the leadership in crushing Buddhism
by persecuting Buddhists and destroying Stupas,
Viharas and Monasteries. They constructed Shiva
temples there even though Adisankara had
proclaimed for the first time, Buddha to be an
incarnation of Vishnu. Saivas, Shaktas and
Buddhists had taken resort to Tantra and Magic
to attract the common folk to their side. This had
led to social degeneration.
Shaivism had its own points of absorbing
interest and attraction. The story depicting
Parvati`s love and tough penance to get Shiva as
her husband culminating in Lord Shiva`s marriage
to her had an emotional appeal to many.
Vaishnavism that was then reviving in the south
had nothing much to offer except the brief
description of Rasalila depicted in the Shrimad
Bhagavat between Krishna and Gopis.
The Arabs had occupied Sind in 711 AD
and Sultan Mahmood of Ghajni in the first three
decades of 11th century had attacked and
plundered India seventeen times. The maximum
damage was done to the Somenath temple in
Gujurat. The Islamic sufis and saints had started
arriving in India. The threats to Hinduism had
become real because of the rigid caste rules,
costly rituals and Brahmimic puritanism and
subjugation of women. The Gupta period had
witnessed an improvement in the status of women
in religion and education but the decline had
started again.
There was a necessity to make Hindu religion
particularly Vaisnavism more intelligible to the
common man, more interesting, and more
entertaining to the majority of the people who had
no knowledge about the Vedas Upanishads and
Puranas. Conversion to Islamic faith of the socially
down trodden and the culturally starved common
folk was emerging as a threat.
The concept of Radha as the beloved of
Krishna had originated in the south but it was yet
to be fully developed into a real love story. The
necessity was felt to turn away people from the
tantriks and magicians, and take them away from
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Jayadeva & Gita Govinda * Special Issue
cremation grounds to the temples from postures
of dhyana to those of dance and drama in the
name of the Lord.
Sri Jayadeva filled up this critical void
beautifully by composing the Gitagovinda, which
not only became the Bible for the later Vaishnavites
but also had profound influence on music, dance
and drama in the whole country. The recognition
and respect for female sexuality and
womanpower representing Maya and Shakti
which are integral parts of the Supreme Lord, got
established in Literature and religion after
Gitagovinda. The book also influenced art,
painting, literature, textiles and sculpture
throughout India. The process started by
Jayadeva developed and reached its nadir in the
sixteenth century after the visit of Srichaitanya to
Orissa. Thus, Gitagovinda was a distinct historical
necessity and that is why originating from Puri
Jagannath Temple it was received so well and
traveled so fast from Assam to Gujrat and from
Kanyakumari to Kashmir.
The Ganga King ruled over Kalinga from
the 6th Century to 11th Century AD. At that time
Kalinga was restricted by river Rusikulya in the
north and Simhachal hills in the south. At the centre
of Kalinga was the Mahendragiri range of hills.
The Mathar Kings who ruled over Kalinga before
the Gangas had Singhapur as their Capital. But
after the fall of Mathar dynasty the Ganga Kings
established their Capital at Kalinga Nagar on the
bank of river Vamsadhara. To-day this is located
in Srikakulam district of Andhra Pradesh known
as Nagari Katak.
Very close to this place is a place known as
Mukhalingam in which the Madhukeswar Siva
temple was constructed in the 10th century AD
by Madhukumarnava Deva a Ganga king. His son
Vajrahasta Deva did quite a lot of development
works for the temple and laid down all the rites
and rituals for worship of the deity. From copper
plate issued by him it is known that he had brought
a number of families adept in dance from
Baidumba kingdom, which was the home of the
maternal uncle of Vajrahasta Deva. These families
gradually increased in number and the king settled
them in a village called Srikurampatak at the
distance of 19 km from Kalainga Nagar on the
sea coast. There is a Vishnu temple there
worshiping Srikuruma Avatar (Tort oise
incarnation). The Vaishnaveites who came from
southern India taught Sanskrit literature,
philosophy and religious texts to the students.
There was also a school for music and dance at
Srikurumpatak for the dancing girls and boys. The
temple dancers were called Sani.
The Ganga Kings ruled over Kalinga for
about 400 years and then Chodaganga Deva was
born to Maharaja Devendravarma Rajaraj Deva
and queen Rajsundari who was the daughter of
the Chola King of Kanchi named Maharaja
Kulatunga Rajendra Chola the Second.
Rajasundari had two sons namely, Cholaganga
Deva and Pemardy. When Rajraj Deva died
prematurely in 1077 AD, Cholaganga Deva was
only 5 year old and Pemardy the second son was
only 3 year old.
Kalinga was thus without a ruler. The
neighbouring states wanted to occupy Kalinga.
In order to save the kingdom and the two kids
from the enemies Rajsundari the widowed queen
desperately sought the help of her brother
Virachoda who was ruling over the Bengi
Kingdom. Virachoda accepted the request, came
to Kalinga Nagar and organised the coronation
of the child Cholaganga Deva. He got his own
kid daughter Gundichodi, later on known as
Kasturikamodini, married to Cholaganga Deva
and proclaimed that Kalinga was not without a
ruler. Virachoda was a brave and intelligent king
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himself. He engaged teachers of high caliber for
the education of his daughter and the son-in-law.
Cholaganga Deva, later led a huge army and
started a series of campaign against the
neighbouring enemy States.
Situated to the east of Kalinga was Utkal
which was ruled at that time by a Somavansi king
Karnadeva. Cholaganga attacked Utkal and
occupied Jajati Nagar on the bank of river
Mahanadi which was the capital of Utkal. With
this battle for the conquest of Utkal, the
Somavansa got eliminated. Cholaganga then
defeated Chalukya King or Bengi and also
defeated Pala King of Bangal at Mandargada and
Armyanagar, at present known as Arambag. He
extended his Kingdom Kalinga from Godavari in
the south-west to Ganga in the north-east. In 1112
AD he shifted his capital from Kalinga Nagar to
Varanasi Katak at present known as Bidanasi.
From Deopara copper plate inscription it is
known that Vijayasena prided himself as a friend
of Cholaganga.
Since it took some time to bring about peace
and stability in the conquered territories of Utkal
and Banga, Cholaganga alongwith his family
stayed in Kalinga Nagar upto 1126 AD and then
shifted to Varanasi Katak after restoration of
peace and stability. In 1050 Sakabda (1128 AD)
his first year of rein was declared to be counted
as can be found from an inscription in Nrusingha
temple near Mukti Mandap at Srimandir.
Cholaganga assumed title of Parama Maheswar,
Parama Vaisnava and Parama Brahmanya. He
was initially a Saiva and latteron became Vaisnava.
His Saiva Guru was a Sadhu in Madhukeswar
temple and his Vaisnav Guru were from Vishnu
Temple of Kurumpatak.
Cholaganga Deva organised the coronation
of his eldest son Sri Kamarnav Deva at the Sri
Purusottam Temple of Puri and stayed in his
palace at Puri for the rest of his life. This was in
the year 1142 AD. Cholaganga Deva started the
construction of the present Jagannath Temple at
Puri. At the coronation function temple dancers
from Sri Kurumpatak were called to perform
dance at the Lord Jagannath Temple. This sect
was known as Sanisect. As found out from the
temple inscriptions at Madhukeswar temple and
Simanchal Temple the Ganga Kings had
encouraged this tradition of temple dancers in the
kingdom of Kalinga, and then the Kalinga empire.
An inscription in the Lingaraj Temple,
Bhubaneswar during the region of Raghava Deva
the second son of Chodaganga Deva describes
that all the land rights for a region called as Baheda
Khanda were purchased from Sadhu Pradhan
Jayadeva of Kurmapataka and donated to
Kirtivaswar (Lord Lingaraj) by Medam Devi, her
father Komi Nayaka and her mother. The three
of them had donated three Akhanda Dipas
(arrangements for nonstop burning of oil-lamps)
to the temple. They belonged to the Sani sect.
A similar inscript ion appears on
Madhukeswar temple at Mukhalingam where
Komi Nayak father of Medam Devi and his wife
Nagama Devi (Title of Gudisani meaning Temple
Dancer) arranged for offering an akhanda deepa
in the temple in 1113 A.D.
There is yet another inscription in the said
Madhukeswar temple in which they had offered
akhanda deepa in 1128 A.D. The system of
providing akhanda deepa and donating rights of
land to the deities appears to be common in the
three events in 1113, 1128 and 1156 A.D. The
presence of Jayadeva and his description as
Kurmapataka Pravara establishes that he had
close lineage with the dancing families of
Kurmapataka who had come to Orissa during
the period of Chodaganga Deva. Had the Gudi
Sanis (temple actors and dancers) been socially
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looked down upon, then their donations to
temples could not have been accepted and
immortalized in inscriptions. The two inscriptions
at Madhukeswar temple and the one at Simhachal
temple were discovered, read and interpreted by
Dr. Satyanarayan Rajguru, the Pitamaha Bhisma
of historians and linguists of Orissa. Read with
the inscription at Lingaraj temple, it leads to the
conclusion that Jayadeva had been a member of
the teaching facult y of the school at
Srikurmapatak. He might have studied there as
well. After his childhood education he must have
gone to Srikurmapataka and gain experience in
composition of poetry and music and in dancing.
He perhaps came back to Orissa along with the
group and performed in the Puri temple.
Sri Jayadev the celebrat ed Poet of
Gitagovinda was born in the village Kenduvilva
Sasan or Kenduli Sasan in Balipatna P.S. in
Khurda district, a part of the earlier Puri district.
He was most likely born in the first part of 12
Century AD during the rein of Cholaganga Deva.
Kenduli Sasan close to the river Prachi then was
inhabited mostly by Brahmins. The presiding deity
in the village is Ambika and there is a Nrusingha
temple as well. Jayadeva must have gone for
higher education in Sanskrit literature and Music
to Kurmapataka and after education he must have
become a tutor there. That is why the two tiles
Kurmapataka Pravara` and Sadhu Pradhan`
have been mentioned against him in the Lingaraj
Temple inscription. Read together the three
inscriptions indicate to the fact of close association
of Jayadeva to the family of Kaminayaka and to
the institution at Kurmapataka.
Prachi valley witnessed the rise and spread
of Jainism, Budhism, Saivism, Saktism, Sun cult
and Vaisnavism. Kenduvilva and many other
villages nearby are full of religious monuments
dedicated to different cults. Numerous temples
were erected by Bhaumas, Somavanshis and the
Gangas in the Prachi valley. Village Kenduli Sasan
has rich relics of brick and stone temples and
sculptures of Saiva, Vaisnav and Sakta cults as
well as Buddhism belonging to the period between
9th and 13th Century AD. In Prachi valley
whether the temple has a Sakta or Saiva, deity
Gitagovinda is recited on festive occasions which
symbolise the influence of Vaisnavism over saktism
and the immense popularity of the text of
Gitagovinda.
The copper plate grant of Nrusingha Deva
the 4th which was recovered from a tank near
the Nrusingha temple of Kenduli village, was
originally issued from Varanasi Katak in AD 1383.
It refers to establishment of Narasinghapur Sasan
donated to one Mahapatra Narahari Das Praharaj
who was the minister of Narashigha Deva. This
Sasan is located very close to Kenduvilva on
Prachi valley. This grant also contains the names
of Olatapura and Attahaspura Sasan adjacent to
Kenduli established by Attahasdev the youngest
son of Cholaganga Deva.
To quote Dr Harish Chandra Das
'While discussing about the historical
background of Jayadeva it will perhaps not be
out of place to glance through how he introduced
Radha and Madhava and dasavatara cult in the
most popular manner breaking the stylized
tradition. From this point of view Gitagobinda is
virtually a historical text unfurling the historical
truth through his poetic narration. The cult of
Madhava which is historically proved to be in
existence in Orissa from seventh or eighth century
A.D. gained great momentum from the time of
Jayadeva. The first epigraphical evidence of
Madhava we come across in the copper plate
grant of Madhavaraja of the Sailodbhava dynasty
where the scribe has particularized the epithet of
Chakrayudha Madhava. The image of
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Nilamadhava installed by the Bhanja monarch at
Gandharadi (ninth century A.D.) comes next in
order of chronology. The image of Santosa
Madhava recorded to in the copper plate grant
of Indravarman Codaganga Madhava in the pillar
inscriptions of Rellivalasa at Srikakulam,
numerous Madhava sculptures and temples in
Prachi valley are clear revelation of the long-
continued tradition of Madhava worship in Orissa
with wide distribution in Prachi valley, the birth
place of Jayadeva who in course of his wanderings
and as a devout devotee of Madhava infused
exuberantly in his Gitagobinda the lucid description
of Madhava, his deity of love and admiration.
Sri Jayadev introduced the cult of Radha and
Krishna through his Gitagovinda and due to the
influence of Shrimad Bhagavata and Gitagovinda
and the composite figure of Krishna and Vishnu
as Gopinath became very popular in Orissa.
When Vaisnavism became the state religion of
Orissa the composite sculpture of Krishna and
Vishnu with upper two hands in the pose of
playing the flute, standing in Tribhanga associated
with Astagopi and cattle which is the characteristic
feature of Krishna, indicates the amalgamation of
two cults at a time. The long continued tradition
of Dasavatar had a deep imprint on Sri Jayadev
who popularised the 10 Avatars of Vishnu in lucid
language, which would be put to music and dance.
To quote Dri Harish Chandra Das again
'That the concept of ten incarnations of
Visnu was widely prevalent in Orissa since seventh
century A.D. is substantiated by literary and
archaeological evidences. In this connection
mention may be made of Varaha worship referred
to in the copper plate of Dharmaraja of the
Sailodbhava dynasty and other individual and
collective images particularly in coastal Orissa
which speak in short the prevalence of dasavatara
worship in Orissa before the advent of Jayadeva.
Jayadeva in his composition (dasakrtikrte) has
shown the greatness of Lord Visnu in his ten
incarnations individually.
It was Sri Jayadev institutionalised the
Devadasi system introduced from the time of
Somavansi Kings. Devadasi or Maharis were
women dedicated to the deity in the temple for
performance of dance and music. The importance
of this dancing service became so great that a
special structure called Natamandir was added
to the Viman and Jagamohan.
Madhava Patnaik a Vaishnavite poet was a
contemporary of Panchasakha and Sri Chaitanya.
As is well known, Panchasakha refers to
Balarama Das, Jagannatha Das, Achyuta Das,
Ananta Das and Yashovanta Das, the saint poets
of Orissa. Madhava Patnaik has described in
detail the events in the later part of life of Shri
Chaitanya in Puri. In this book is given a graphic
description of the development of Vaishnavism in
Orissa.
The following are the facts from this book
which clearly mentioned that
i) Chodaganga Deva actually renovated an old
temple and started construction of the present
Jagannatha temple, and he had conducted
in the temple itself the Abhishek of crown
prince Kamarnava Deva,
ii) On this occasion dancers were called from
the South to perform dance and drama in
the Puri temple,
iii) A small Natya Mandir was constructed and
arrangements were made for presentation
of regular dance and drama by Maharis
(Temple dancers) in the honour of Lord
Jagannatha in the temple during the time of
Chodaganga Deva and his son.
iv) Chaitanya after he had arrived at Puri was
advised by Pandits to go to Rajamahendri
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to meet Raya Ramananda who was
Governor of this south province of Orissa.
There Chaitanya came to know about
Dvaitavada and Advaitavada form Raya
Ramananda.
v) Bipra Jayadeva was born in Kenduli Sasan
on the bank of river Prachi. He worshipped
Madhava at Niali. He was an expert in the
Shastras and Puranas, music and dance. He
was a saint poet who composed the Geeta
Govinda in the temple of Jagannatha at Puri
and his wife Padmavati danced to the tunes
of Geeta Govinda before Jagannatha.
vi) Chaitanya and Panchasakha were going on
Sankirtan Trips to different parts of Orissa
for a number of years. One such annual trip
started from Ananta Vasudeva temple of
Bhubaneswar and ended at Puri touching
Balakati-Kenduli-Niali, Madhav, Adaspur,
Kakatpur and Konark.
Madhav Patnaik has described as to how
Srichaitanya and Panchasakha were dancing in
Sankirtan singing Gitagobinda at Kenduli village
which was the birth place of Jayadeva. This book
was discovered and compiled from 3 Palm leaf
manuscripts collected in Orissa from 3 places in
the early 1980s.
Gitagovinda of Sri Jayadev, therefore, is
accepted as a historical text in addition to its great
literature and religious significance. Sri Jayadev
initially highlighted and systematised the traditional
cults but also introduced his own ideologies, poetic
imagery and music. Both Cholaganga Deva and
his son Kamarnav were disciples of Ramanuja
and devotees of Sri Jagannath and his consort
Laxmi. Jayadev was influenced by Ramanuja`s
ideology of Jagannath and Laxmi. In Gitagovinda
Krishna tells Radha that formerly she as Laxmi
chose Him as her consort on the sea shore on the
occasion of Samundra Manthana. As a result of
this incident Siva shallowed poison out of despire.
Gitagovinda was composed before 1150 AD and
Gitagovinda dance drama enacted in Puri temple
during the rein of Cholaganga Deva and
Kamarnavdev. The earliest reference to Jayadev
outside Orissa was made by poet Chandabaradai
the Court poet of Prithviraj Chauhan who was
defeated and killed in 1192 AD by Md. Ghori in
the battle of Tirori. The next earliest reference is
found in an inscription of Raja Sarangadev in the
year 1201 AD. Therefore, it is established that
Gitagovinda because of its regular performance
in Sri Jagannatha temple of Puri assumed
popularity throughout India within a brief period
of 30-40 years of its composition. It combined
the best in the rich traditions of philosophy
literature, music and dance in Kalinga and Utkal.
The philosophy was developed later into Achintya
Bheda Bheda Tatwa, so ably propounded by
Raya Ramananda and accepted and immortalized
by Sri Chaitanya, Pancha Sakha and the Shad
Goswamis.
In the second stanza of Sri Gitagovinda
Jayadeva invokes the Goddess of speech,
Saraswati to come to his aid in writing the poem
which will depict the love frolic of Radha and
Krishna. Jayadeva also introduces his wife
Padmavati who danced to the tunes of his
composition in the temple of Lord Jagannath at
Puri. Padmavati incidentally was a celebrated
dancer in her own sight as can be seen in the stone
inscriptions in two temples of South India. The
book was written in the Lord Jagannath Temple
of Puri.
The fourth stanza, according to Dr. N.S.R.
Ayengar, lends insight into what kind of readers
Jayadeva was writing for only those whose hearts
are sweetened and enriched remembering Hari
and those who are curious about the art of divine
luxurious enjoyment, should read Jayadeva who
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is writing the poem, couched in sweet, tender and
lilting lyrical language.
The third stanza starting with the following
words however, is intriguing.
Vacah pallavayatyumpathidharah
Sandarbha Suddhim Giram;
According to Dr. Satyanarayan Rajguru and
Dr. N.S.R. Ayengar it is an obvious interpolation
and, therefore, contentious. It serves very little
purpose in the poem. The quote Dr. Ayengar 'In
its tune, texture, content and diction, it does not
fit into the architectonic of the poem. It creates a
jarring note which is very uncharacteristic of
Jayadeva. After the invocation and the proposal
in the second stanza, the third one seems utterly
out of context.
As translated by Barbara Stoler Miller, the
stanza reads as follows -
'Umapathidhara is prodigal with speech,
Saran is renowned for his subtle flowing sounds.
But only Jayadeva divines the pure design of
words. Dhoyi is famed as a kind of poets for his
musical ear. But no one rivals poet Govardhana
for poems of erotic mood and sacred truth. Both
Dr. Rajguru and Dr. Ayengar are of the opinion
that this stanza could never have been there where
it is now for it rends the total texture of the poem.
It is a later interpolation into the poem by some
commentator, perhaps with some ulterior motive.
First of all it is not harmoniously fused into the
body of Jayadeva`s poem and secondly it does
not exhibit the felicity of the diction which is so
characteristic of Jayadeva`s style. The thought
contents are also quite out of context.
In this stanza are mentioned the names of
four poets, Umapatidhara, Sarana, Acharya
Govardhana and Dhoyi. The stanza has five
different things to say about each of the five poets.
Umapatidhara is known for his free flowing
speech. Sarana is known for his subtle sounds.
Dhoyi, the king of poets is known for his music.
Jayadeva is known for his felicity of diction and
Acharya Govardhana remains the unrivalled
master of erotic art.
Two different meanings have been read into
the stanza. One view which was held by Late
Kedarnath Mohapatra was that Jayadeva had
only established his superiority over four other
contemporary poets and not the superiority or
Govardhana Acharya over the rest four. He has
based this interpretation on the book Sarvanga
Sundari Tika by Narayana Das.
The other and more widely acceptable
meaning is that the stanza was written to clearly
establish the superiority of Govardhana Acharya
over the rest of the poets including Jayadeva
himself. It appears highly improbable that
Jayadeva in his own words would denigrate his
own status.
Whichever meaning one accepts, nothing has
been said in it on the association of either
Jayadeva or any one the these poets to have
belonged to the court of Laxmana Sen.
Dr. Satyanarayan Rajguru has developed and
established a hypothesis that this stanza was
composed by Udayana, younger brother of
Govardhana and he perhaps interpolated it into
Gita Govinda in his Bhava Bivatria Tika. This was
perhaps done deliberately so that Arya Sapta Sati
complied by Govardhanacharya with assistance
from Balabhadra and Udayana, his two brothers,
got a better introduction and circulation.
Sovoneswara temple in Niali and Megheswar
temple contain two stone inscriptions where
compositions of Udayana appear and have been
preserved till today. The three brothers belonged
to Niali in Cuttack district. Rana Kumbha in his
Rasika Priya Tika has clearly declared this stanza
to be an interpolation.
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Arya Saptasati contained only a very few
stanzas of Shringara Rasa. It is highly unlikely that
Govardhana could be the model in this regard for
Jayadeva to emulate. Jayadeva had before him
the great models of Kalidasa, Bhatrihari, Sriharsha
and Bhababhuti. Jayadeva could have paid
tributes to these luminaries rather than to
Govardhana Acharya describing him as the best
exponent of Srinagar Rasa. Though Acharya
Govardhana was a later contemporary of
Jayadeva, he composed Arya Saptasati much
after the writing of Gita Govinda.
What poetry did Umapatidharah and Saran
write is not known to posterity. Obviously this
Umapathidharah is not the poet Umapathi of 13th
Century of Orissa who was an Army General and
a poet in one of the Ganga King`s court.
Umapatidhara perhaps served in the courts of two
or three Sena Kings Vijaya Sena, Vallala Sena
and Laxman Sena. Even if this is true, what he
wrote is not known as is the case with Sarana.
Dhoyi had written the Pavanadut Kavya
which is an imitation of Meghaduta by Kalidasa.
Dr. Rajguru has placed the period of composition
to the time of Vijaya Sena (1072-1119) because
Dhoyi had urged the wind messenger to touch
Kalinga Nagari on his way as it was the capital of
Kalinga. Emperor Cholaganga Deva had shifted
his capital from Kalinhganagar to Varanasi Cuttack
on Mahanadi in 1112 A.D. Dhoyi who wrote
before 1112 AD could never have lived up to the
reign of Laksmana Sena.
Jayadeva was the contemporary of Vallala
Sena, father of Laksmana Sena (1119-1169). The
time of composition of Gita Govinda is in between
1146 to 1150, as calculated by Dr. S.N.Rajguru.
Thus there is no question of all these poets
working as court poets of Laksmana Sena.
Scholars who are bent on proving that
Jayadeva belonged to Bengal depend squarely
as this 3rd stanza. They take it for granted that
Dhoyi, Sarana, Umapatidhara and Govardhana
Acharya were court poets of Laksmana Sena and
jump to the conclusion that Jayadeva also was
there as he mentioned them in the 3rd stanza in
Gita Govinda. First of all the premises is wrong
and conclusion based on that obviously is wrong.
None of these five poets in their works has ever
mentioned the name of Laksmana Sena.
Those scholars who maintain that the words
'Senakulatilaka Bhupatireko Raja Pradosacha
in sloka number 39 of Arya Saptasati by
Govardhana Acharya refers to Laksmana Sena
are sadly mistaken. Arya Saptasati is mostly a
Sanskrit translation of Satta Sai` composed by
Mahakavi Hala in Prakrit in 3rd century AD. In
the Satta Sai` also the words Senakulatilaka
Bhupati appear. Obviously 17th descendant of
Satabahan dynasty Sri Hala belonging to 3rd
century AD could not have referred to Laksmana
Sena of 12th Century Bengal. He had referred to
Maharaja Pravara Sena II belonging to Bakataka
dynasty which ruled over Deccan. R.G.Bhadarkar
in his book Early History of Deccan` has
determined the period of Halo on 3rd century AD.
A commentator of Arya Saptasati belonging
to Maharastra has clearly mentioned that this
Senakulatilaka referred to a king named Prabara
Sena as 'Tilaka Bhupati Setu Kara Prabara Sena
name raja -Purnamasi Pradosheka prabhut. This
commentary is published in Choukhamba Sanskrit
Series. The words Senakulatilaka therefore do
not stand for Laxmana Sena at all. There is no
indication in the writings of Govardhanacharya
about any Sena ruler other than these words. So
it is not true that Govardhanacharya belonged to
the court of Laxmana Sena. Had that been so,
Sridhara Das who actually belonged to the court
of Laxmana Sen would have quoted from the
book by Govardhan in his own works.
9
Research by Dr. Satyanarayan Rajguru has
demolished the entire edifice built around this
interpolated 3rd stanza in Gita Govinda to
establish Jayadeva as a court poet of Laksmana
Sena and therefore belonging to Bengal. It has
also established that Govardhana Acharya
belonged to Niali in Cuttack district in Orissa and
was never a court poet of Laksmana Sena.
Summing up the contribution of Dr. Satya
Narayan Rajguru on the research of Jayadev the
following points need to be specially mentioned:
1. He conducted research on the temple
inscription of Madhukeswar temple at
Kurumapatak and compared them with the
Lingaraj Temple inscription starting with the
sloka Swasti Raghavadebasya and
established that the families of Kumi Nayak,
Modem Devi and Nagma Devi were
associated wit h Jayadev from his
Kurumapatak days and that Sadhu Pradhan
Jayadev mentioned in the Lingaraj Temple
inscription is none other than Jayadev, the
author of Geeta Govinda.
2. He established that Padmavati was not
merely a girl dedicated to Lord Jagannath
as Debadasi by her father Deva Sharma and
later on got married to Jayadeva but also
that she was a famous dancing girl of South
India as found in the temple inscription of
two temples.
3. On conducting extensive research he has
placed the time period of the poets like
Dhoyi, Umapatidhar, Sharan,
Gobardhanacharya and Jayadeva and he has
established beyond doubt that none of them
were the court poets of Laxman Sen and at
no point of time they were altogether in any
king`s court whatsoever.
4. He has also established that the sloka
'Laxmanasya Pancharatnastated to have
been seen by Rupa and Sanatan Goswamy
at Nadiya is a fake one, because of the
historical impossibility of the sloka
discovered 300 years later.
5. He has refuted the claims of Rama Kanta
Tripathy of Bengal who wrote that the
Laxmanasya Sloka found place in the famous
book Rajatarangini written by Kallhan of
12th century AD.
6. By conducting research on the time period
of Varddhaman Raj family, Laxman Sena
and Jayadeva, he has established that the
book Jayadeva Charita by Banamali Dasa
was only written to flatter the Varddhaman
Zamindar family which simply did not exist
during 12th century at the time of Jayadeva
and that the story of this family conducting
the marriage of Jayadeva with Padmavati
was bogus.
The Gita Govinda by Sri Jayadeva was
regularly sung and danced in the temple of Lord
Jagannath at Puri as part of the Lord`s nocturnal
liturgy. The Seva has started from the days of
Jayadeva during the period of Kamarnava Deva,
son of Emperor Chodaganga Deva. Gajapati
Pratap Rudra Deva promulgated an order through
a temple inscription, dt.8.7.1500 which ordained
that the singing of Gita Govinda would
henceforward be a compulsory daily ritual in the
temple, for which the King even appointed singers
and dancers for the purpose as mentioned by
historian Kedarnath Mohapatra.
As mentioned by Sri Nilamadhav Panigrahi,
an eminent musicologist, the Gita Govinda
'surpasses all other preceding works of the great
master poets by dint of its lyricality, both from the
view points of inspiration and expression, if not
by its poetic greatness. But by its 'three
dimensional appeal of music, poetry and mystic
spiritual content it has earned unsurpassed
10
popularity tantamount to adoration as mentioned
by Kedarnath Mahapatra, an eminent historian.
Its popularity has led to controversies in the
last century regarding the birth place of poet
Jayadeva. As clearly said by Devi Prasad Das -
The Gita Govinda which has created a world wide
sensation in the field of the art and literature of
the country is believed to be the product of
Jayadeva and Padmavati in Jagannath temple of
Puri where its recital is an important ritual since
several centuries.
The controversy regarding the nativity of
Jayadeva, according to Late Pandit Nilamani
Mishra is hardly one hundred year old. After
Orissa had lost its identity towards the beginning
of the 19th century, its social and cultural life was
vitiated by a number of economic and political
factors. Therefore, its cultural materials were
wrongly used by the scholars from outside. These
types of cheap controversies gained ground as a
result of such uses. A story in Seikh Subhodaya
is cited as evidence of Jayadeva belonging to the
court of Laxman Sena.
Seikh Subhodaya is actually a recent work
but it is said to be a work of the 2nd half of 16th
century AD. It was edited by Dr. Sukumar Sen
and published by Asiatic Society of Bengal in
1963. It is narrated in their book that Budhan
Misra, the court singer of Kapilendra Deva
Gajapati of Orissa went to the court of Laxmana
Sena of Bengal and he had challenged Jayadeva.
This does not hold historically because Kapilendra
Deva and Laxman Sen are not contemporaneous
to each other. While Laxmana Sen ruled from
1170 to 1250 AD, Kapilendra Deva belonged to
the 15th Century AD.
This book narrates fanciful stories about
Umapati Dhara. Govardhana Acharya, Dhoyi and
Jayadeva, all of whom are mentioned in the Gita
Govinda. The story on Jayadeva is as follows -
A certain Brahmin called Budhan Mishra
appeared in the assembly hall of Raja Laxmana
Sen and claimed that he had attained great heights
in composition of music, for which he had been
honoured by Gajapati Kapilendra Deva of Utkal.
He had obtained a 'Writ of Victory from Gajapati
of Utkala. He then started singing in Patta Manjari
Raga and all the leaves of a nearby Aswastha tree
fell down. All the courtiers started praising Budhan
Mishra. The King decided to honour him with a
Writ of Victory. It may be mentioned here that
Patta Manjari is not known to be an established
Raga. It is difficult also to believe that
King Laxmana Sen was holding his open
assembly(durbar) under a Aswatha Tree on the
shore of river Ganga.
Just at that time Padmavati, wife of Jayadeva
was comig back from her bath in river Ganga.
Hearing sounds of joy in the royal court, she
entered the hall and announced that 'Unless
anyone defeats her in music in a competition, no
one should be awarded a Writ of Victory`
Seikh, a Muslim saint was present in the
king`s court. He asked Padmavati to sing a song
and create some miracle. Padmavati started
singing a melodious song in Gandhava Raga. All
boats floating in the river came back on their own
to the shore. All courtiers were amazed.
Budhan Mishra was reluctant to enter into a
contest with a woman. Seikh ordered that
Padmavati`s husband Jayadeva be called to the
royal court. Jayadeva came to the Court. Seikh
told Budhan Mishra to sing so that new leaves
came out in the Aswastha tree. Budhan Mishra
expressed his inability to sing like that.
Poet Jayadeva then started singing in Basanta
Raga and immediately new leaves started
sprouting in the Aswastha tree which had lost all
leaves earlier. As ordered by the Seikh no Writ
11
of Victory was given to Budhan Mishra. He was
only given some small gifts and asked to leave
the court.
Since the name of Kapilendra Dev was
mentioned in this story, the book obviously has
been written during or after the 16th Century,
describing events during the rule of Laxmana Sen
in the 12th Century A.D. Famous historian Dr.
Rakhal Das Banerjee has written about this book
as follows, 'The book does not contain a single
passage which may be taken as historically
accurate.
According to Dr. Suniti Kumar Chatterjee
'Although it is a forgery, its date certainly is not
later than the 16th Century and is sufficiently old
for it to retain its importance as a valuable work
on early Bengali history and Culture. This has
been quoted by Dr. Prasanta Kumar Dasgupta in
his book Jayadeva and his Contemporaries` at
pages 99 to 100.
Dr.Sukumar Sen has written that though this
book does not contain any historical event, in some
of the myths one can notice some historical
evidence.
According to Dr. Bhagaban Panda, this
book as its very title indicates, was written to
celebrate the auspicious coming of a Muslim Pir
(saint) to a country which first knew Islam, where
he was highly honoured. All prominence was given
to the Seikh and Laxmana Sen and his ministers
have been described as thieves, corrupt and lusty.
Shri Jayadeva and Padmavati were great
devotees of Sri Krushna and had no love for
wealth. It can never be imagined that they appear
in a humiliating manner and sang in the court of
Laxmana Sen competing with one Budhan Mishra
and receiving presents of a pair of golden earrings
and a pair of bracelets. The book which was
written to sing the glory of a Muslim saint and
had credited all the traditional glories of Laxmana
Sen to the Muslim saint cannot be cited as an
evidence to establish the connection of Jayadeva
with the court of Laxmana Sen.
It is really strange as to how scholars of
Bengal have accepted all the insults heaped on
Laxmana Sen, his queen, Umapati Dhar and
Kaviraj Dhoyi by the Seikh. Dhoyi has been
described in this book as an illiterate man coming
to possess divine gift of high poetry. The King
had been described as being jealous of Umapati
Dhar and competing with him for the company of
prostitutes. The queen of Laxmana Sen is narrated
to have assaulted Madhavi, the daughter-in-law
of a merchant at the bathing ghat and that she
snatched away the bangles from her wrist. The
two earrings worn by the husband of Madhavi
were forcibly taken away by the servants of the
queen as per her order. On hearing the story of
complaint from Madhavi and her husband, the
Seikh brought the king and his wife to a trial in his
court. The queen was found herself wearing the
snatched bracelets of Madhavi and her son was
found wearing the earrings of Madhavi`s husband.
Laxmana Sen, it is described in the book, had to
bear all the insults with his face down cast. What
compelled Laxmana Sena before his defeat in the
hands of Muhammad Bakhiyar to be so
subservient to the Seikh is not known. Had
Laxmana Sen ruled as a Vasal king under an Islam
Nawab, he would perhaps become subservient
to a muslim pir. But history records that Laxmana
Sena escaped after defeat and came with a few
followers to Puri and sought refuge under the
Ganga emperor Raja Raja Deva.
Such is the book 'Seikh Subhodaya whose
stories are paraded to provide 'historical
evidence of saint poet Jayadeva`s association with
the Court of Laxmana Sen and his birthplace in
Bengal.
12
Jayadeva was one of the greatest poets of
India and an unrivalled master of erotic religious
lyrical poetry. The poet himself abstained from
mentioning anything about his birth place except
that he was born at place called Kenduvilwa. As
Dr. N.S.R. Ayengar has said 'The ancient Indian
Poets never recorded anything about their age,
place of birth and time. This, one feels, was partly
because of their modesty and partly because they
perhaps never thought it worthwhile, since they
never had such narrow, parochial attitude to life.
Perhaps they considered themselves as sons of
India writing in the best of Indian languages -
Sanskrit. We are proud of them as they are to
the exclusion of their provincial identities. But
distortions of history need critical scrutiny.
One of the hypothesis on which the whole
superstructure of the arguments in favour of the
birth place of poet Jayadeva`s being in Bengal is
that a stone or wooden slab bearing the names of
Govardhana, Sarana, Jayadeva, Umapati and
Dhoyi was said to have been fixed on the wall of
Laxmana Sena`s assembly hall. This was
discovered by two Vaishnava Saints Rupa and
Sanatana in the first part of sixteenth century.
This discovered verse is quoted below
'Govardhanasca Sarano Jayadeva Umapatih.
Kavivajasca ratnani Samitau Laksmanasyaca.
Shri Harekrishna Mukhopadhya in his book
Birbhum Vivarana has mentioned that Shri Rupa
and Sri Sanatana had seen this sloka inscribed in
the assembly hall of Laxmana Sena at Shridhama
Navadipa. Laxmana Sena`s rule in a part of
Bengal had come to an end in the year 1205 when
Mohammad-i-Bhaktiyar had occupied his capital
and he had fled to Puri, taken refuge in Orissa,
where a powerful Hindu Gajapati King of the
Ganga dynasty ruled at that time. The report of
this discovery by the two Goswamis comes to us
after four more centuries. According to Prof.
Dr.Banamali Ratha, this verse lacked authenticity
of any kind and it has been accepted by the
scholars as a spurious one or hearsay.
According to Thomas E Donaldson there is
no contemporary epigraphic or literacy evidence
to prove that Nadiya was ever the capital of
Laxmana Sena or his forefather and successors.
The grants of land and villages by the Sena Kings
were always issued from Vikramapura or in the
case of the later ones from Dharyagrama and
Phalgugrama. No Sanskrit work written during
the Sena period mentions Nadiya as the capital
of Laxmana Sena.
In Pavanadutam, Dhoyi has called the capital
of Sena Kings as Vijayapura. Only Tabaquet-i-
Nasiri written in 1260 AD fifty five years after the
collapse of the Sena rule is Nadiya, mentions
Nadiya as the seat of Sena`s Government. This
book Tabaquat is not a historical creation as it
has given Laxmana Sena a rule of eighty years
and narrates fanciful stories about his birth and
about the destruction of Nadiya.
Mahammad-i-Bhakt iyan destroyed
thoroughly the city of Nadiya(or whichever was
the capital of Laxama Sena) and left it in total
ruins. There was no trace of the palace standing.
The verse was supposedly discovered in on the
gates some three hundred years later by the two
Goswami`s Rupa and Sanatana.
According to Kendarnath Mohapatra a
noted historian, 'The story of the connection of
the five poets with Sidhama Navadwipa originated
and perhaps was circulated in the post Chaitnya
period when Nadiya came to prominence due to
the birth of the great reformer Sri Chaitnya in that
holy place. There is little evidence literary or
archaeological that the Gita Govinda was popular
in Bengal period prior to the advent of Sri
Chaitanya. In fact Sri Chaitnya first discovered
the jewel of Gita Govinda when he visited Puri in
13
1509 AD and came to realise the religious
significance of the work from Raya Ramananda
Gajapati`s administrator of Rajamohendri on the
banks of the Godavari when he went on
pilgrimage to the south.
According to Dr.Bhagaban Panda the verse
is written in very poor Sanskrit and is a spurious
one like the famous traditional verse cited
describing the nine jewels of the court of
Vikramaditya, also called Chandragupta-II.
The entrance of the Assembly hall of
Laxmana Sena could not have existed upto the
time of Rupa and Sanatan Goswami. Dense
vegetation must have covered the ruins of this
palace in these three hundred years. The two great
Goswamis no where in their numerous works have
mentioned anything about this so called discovery
of the inscription. Their biographies never
mentions t his discovery. Neither t he
contemporaries of Sri Chaitanya who came from
Nadiya nor Srichaitnaya himself ever mentioned
anything about Laxmana Sena once ruling over
Navadwipa or about any historical ruins of his
palace. No Vaishnav literature written after Sri
Chaitnya has ever mentioned about this grand
discovery by the two Goswamis.
This verse was most probably composed
by some Pandit of poor competence in Sanskrit
in the first part of 20th Century on the basis of the
verse 'Vacha Pallavayati which itself was a
'Prakhipta (Interpolated) sloka of Gita Govinda
mentioned the four poets Dhoyi, Umapati, Dhara,
Sarana and Govardhana Acharya.
To quote Dr. Bhagaban Panda, The names
of these two learned Goswamis were cleverly
associated with the discovery of this so called
verse in Nabadwipa in order to give an air of
antiquity and gain the confidence of the people.
So the story of seeing this inscription on the
entrance of Laxman Sena`s assembly hall at
Nadiya is simply imaginary and as such
unacceptable.
Nowhere in the history of India or anywhere
else in the world the names of Court poets are
inscribed on stone or wooden slabs fixed at the
entrance of a durbar (assembly) hall.
Pandit Ramakanta Tripathy in the year 1935
edited and published in Calcutta the famous book
of Govardhan Acharya called 'Arya Saptasati.
In the introduction to this bok Sri Tripathy has
written that this sloka 'Laxmanasya Pancharatna
was found quoted in the book Raja Tarangini
written by the famous Kashmiri Poet Kallahana.
Kallahana had written Raja Tarangini in 1148 AD
Laxmana Sena ruled a part of Bengal from 1170
to 1205. How could Kallahana know either about
the five poets or about Laxmana Sena in 1148 ?
This question has been asked by M. Winternitz.
Therefore Pandit Tripathy has told a white lie
when he said that this sloka was quoted in Raja
Tarangini by Kalhahana.
Thus it is established that Pandit Ramakanta
Tripathy like Harekrishna Mukhopadhya was
creating false evidence in support of the theory
that Jayadeva belonged to the court of Laxmana
Sena of Bengal.
Jayadeva was a worthy successor of
Shriharsha, Magha, Bhababhuti and Kalidasa. He
has been described as the last great poet of
classical Sanskrit poetic tradition. He was born
of Bhojadeva and Bamadevi in Kenduvilwa in a
village Kenduli (Kenduvilva in Sanskrit) in the
Khurda (earlier Puri) district of Orissa. There is a
counter claim that he was born in Kenduli in
Birbhum district of Bengal. Dr. NSR Ayengar in
his book 'Sacred Profanities : A study of
Jayadeva`s Gita Govinda which contains the
original Sanskrit text and his own English
Translation has said, 'Recent studies and
researches, however tilt the balance in favour of
Orissa with conclusive proofs.
14
The dispute concerning the birth place of
poet Sri Jayadeva, the author of Gita Govinda is
comparatively a recent one. Orissa and the rest
of India knew that Jayadeva was born in a village
called Kenduvilva near Jagannath Puri which is in
Utkal Desa or Orissa.
According to Late Pandit Nilamani Mishra,
a noted scholar in Sanskrit literature, Mr.
M.N.Chakravarty of Bengal published an article
entitled 'Sanskrit Literature in Bengal during the
Sena rule on the Journal of Asiatic Society of
Bengal Volume-II No.5. This article started the
controversy on the birth place of Jayadeva.
Though there are ample records, maps and
documentary evidences on the village of Kenduli
in Orissa, these have been ignored by the scholars
of Bengal.
A document called Jayadeva Charita1 by
Banamali Dasa is cited to establish Kenduli on
the Ajoy river in Bengal as the birthplace of
Jayadeva. Banamali Dasa, a poet of Bengal is
said to have composed Jayadeva charita in the
beginning of the 19th century. The original work
is not available anywhere in Bengal or India. It is
dificult to believe the authenticity of the
descriptions. His work was based on imaginary
hearsay narrations of the 19th century and this
cannot be depended for advancing the argument
on Jayadeva`s birthplace.
Prof. Dr. Banamali Rath mentions that the
book Jayadeva Charita presents strange accounts
about Jayadeva. When the father of Padmavati
arrived at the village Kenduvilva of Birbhum with
his daughter searching for the God advised groom
Jayadeva, the villagers told him that they knew
nothing about Jayadeva or his parentage. They
however, had seen a lunatic named Jayadeva in
the village. Dr. Rath says the very fact that the
co-villagers did not know anything about the great
poet and his parentage establishes that Banamali
Dasa even did not know the legend properly. Had
Jayadeva been born in Kenduli on the Ajoy river
the villagers would have surely known his
parentage and identity. When a legend is taken
from one place and culture and implanted in
another place and culture, such incongruities are
bound to occur. Jayadeva who was born in
Kenduvilwa on the Prachi river in Orissa, when
he was staying at a cottage on the sea coast at
Puri, could have been a less known figure at the
Jagannath Temple. The priests there could
perhaps have told the father of Padmavati that
they did not know any Jayadeva. When this part
of the legend was taken to Bengal it appeared so
incongruous, that his own villagers were made to
say that they did not know who Jayadeva was.
It is said that the manuscript of the book
Jayadeva charita was written in 1803. It was
published by Vangiya Sahitya Parishad, Calcutta,
1916 from a single manuscript. Nothing is known
about the original manuscript nor has a second
manuscript of this work has been discovered
anywhere in Bengal.
That neither the original manuscript nor even
a second copy of this book is available anywhere
in Bengal is admit ted by Harekrishna
Mukhopadhyaya in his book Birbhum Vibaran at
p.209. What happened to this book for hundred
and thirteen years is not known and the reason as
to why not a second copy of the manuscript of
this book is as yet located in Bengal is not known.
Either the copyists doubted the authenticity of the
book or this book never gained any popularity in
Bengal.
The booklet perhaps was written to eulogise
the achievements and flatter the Vardhaman Raj
family, who had built the Radha Vinod temple.
When Jayadeva was living in Orissa twelfth
century AD, there was no existence of the
Vardhamana Zamidar`s family. So the story that
15
the marriage of Jayadeva with Padmavati was
conducted by the Vardhaman Raj family is a pure
anachronism and an absurdity to say least.
When it is known the world over that Gita
Govinda was composed in the Sri Jagannath
temple at Puri, this book Jayadeva Charita
describes that Jayadeva and Padmavati lived after
their marriage only at Kenduli where a temple and
a palatial building was constructed for them by
the Vardhaman Raj family. They went in their old
age to Brundaban where thy lived for twelve years
and breathed their last there.
According to Dr. Bhagaban Panda, an
eminent Sanskrit Scholar, 'it is alleged that there
was a slab containing an inscription in their Radha
Vinod temple recording the year of its construction
in 1692 AD which is now missing This has been
admitted by Harekrishna Mukhopadhyaya in his
book Birbhum Bibarana at page 229.
As found out by late Pandit Nilakantha
Misra, the Matha on the Ajoy river now associated
by some with the saint poet was actually
established in the last quarter of 19th century by
Mahanta Shri Radha Ramana Dev hailing from
Vrudavan under patronage of Maharaja of
Vardhamana. The present Mahanta of this matha
is the 9th successor on this Gadi. Radha Ramana
Dev was succeeded by Bharata Das, Pyarilal,
Hiralal, Phulchand, Rmagopala, Sarvesvara and
Rasbihari. They all belong to the Nimbarka
school.
According to Dr. Bhagaban Panda an
attempt was perhaps made in Bengal through the
patronage of the Vardhaman Raj family to locate
Kenduvilva, the birth place of Jayadeva near the
Radha Vinoda temple on the Ajoy river after Gita
Govinda gained popularity and sanctity in Bengal
in the post Chaitanya period. On the basis of a
story narrated in a single copy of the Jayadeva
Charita, having very little historical value and
authenticity, the location of Kenduvilva can not
be accepted to be in Bengal on the Ajoy river.
Birbhum Bibarana has also recorded that an
earthen mound called Vilvamangaler dhipi` to the
south of this village Kenduvilva, actually contains
the remains of the residence of Vilvamangal. He
was actually a famous Vaishnab saint poet of
South India. This proves how Hare Krishna
Mukhopadhyaya and Banamali Dasa made
desperate attempts to take both Jayadeva and
Vilvamangala to Ajoy river in Bribhum district in
Bengal. The objective was to take Birbhum to
the same level as Nadiya where Sri Chaitanya
was born.
New Light on Saint Poet Sri Jayadeva and
Gitagovinda
The Ganga King ruled over Kalinga from
the 6th Century to 11th Century A.D. At that time
Kalinga was restricted by river Rusikulya in the
north and Simhachal hills in the south. At the centre
of Kalinga was the Mahendragiri range of hills.
The Mathar Kings who ruled over Kalinga before
the Gangas had Singhapur as their Capital. But
after the fall of Mathar dynasty the Ganga kings
established their Capital at Kalinga Nagar on the
bank of river Vamsadhara. To-day it is located in
Srikakulam district of Andhra Pradesh known as
Nagari Katak.
Very close to this place is a place known
as Mukhalingam in which the Madhukeswar Siva
temple was constructed in the 10th century A.D.
by Madhukamarnava Deva a Ganga king. His son
Vajrahasta Deva did quite a lot of development
works for the temple and laid down all the rites
and rituals for worship of the deity. From copper
plate issued by him it is known that he had brought
a number of families adept in dance from
Baidumba kingdom which was the home of the
maternal uncle of Vajrahasta Deva. These families
gradually increased in number and the king settled
16
them in a village called Srikurumapatak at the
distance of 19km from Kalinga Nagar on the sea
coast. There is a Vishnu temple there enshrining
Srikuruma Avatar (Tortoise incarnation of Visnu).
The Vaishnavites who came from southern India
taught Sanskrit literature, philosophy and religious
texts to the students in this place. There was also
a school for music and dance at Srikurumapatak
for the dancing girls and boys. The temple dancers
were called Sani.
The Ganga Kings ruled over Kalinga for
about 400 years and then Chodaganga Deva was
born to Maharaja Devendravarma Rajaraja Deva
and queen Rajasundari who was the daughter of
the Chola King of Kanchi named Maharaja
Kulatunga Rajendra Chola the Second.
Rajasundari had two sons namely, Cholaganga
Deva and Pamardy. When Rajrajara Deva died
prematurely in 1077 A.D., Cholaganga Deva was
only 5 year old and Paramardy, the second son
was only 3 year old.
Kalinga was thus without a ruler. The
neighbouring states wanted to occupy Kalinga.
In order to save the kingdom and the two kids
from the enemies Rajasundari the widowed queen
desperately sought the help of her brother
Virachoda who was ruling over the Bengi
Kingdom. Virachoda accepted the request, came
to Kalinga Nagar and organised the coronation
of the child Cholaganga Deva. He got his own
kid daughter Gundichodi, later on known as
Kasturikamodini, married to Cholaganga Deva
and proclaimed that Kalinga was not without a
ruler. Virachoda was a brave and intelligent king
himself. He engaged teachers of high caliber for
the education of his daughter and the son-in-law.
Cholaganga Deva, later led a huge army and
started a series of campaign against the
neighbouring enemy kingdoms.
Situated to the east of Kalinga was Utkal
which was ruled at that time by the Somavansi
king Karnadeva. Cholaganga attacked Utkal.
With this battle for the conquest of Utkal, the
Somavansa got eliminated. Cholaganga then
defeated Chalukya King of Bengi and also
defeated Pala King of Bangal at Mandargada and
Armyanagar, at present known as Arambag. He
extended his Kingdom Kalinga from Godavari in
the south-west to Ganga in the north-east. In 1112
A.D. he shifted his capital from Kalinga Nagar to
Varanasi Katak which is at present known as
Bidanasi. From Deopara copper plate inscription
it is known that Vijayasena prided himself as a
friend of Cholaganga.
Since it took some time to bring about
peace and stability in the conquered territories of
Utkal and Banga, Cholaganga alongwith his family
stayed in Kalinga Nagar upto 1126 A.D. and then
shifted to Varanasi Katak after restoration of
peace and stability. In 1050 Sakabda (1128 A.D.)
his first year of reign was declared to be counted
as found from an inscription in Nrusingha temple
near Mukti Mandap at Srimandir. Cholaganga
assumed the title of Parama Maheswara,
Parama Vaisnava and Parama Brahmanya. He
was initially a Saiva and later on became Vaisnava.
His Saiva Guru was a Sadhu in Madhukeswar
temple and his Vaisnav Guru was from Vishnu
temple of Kurumapatak.
Cholaganga Deva organised t he
coronation of his eldest son Sri Kamarnava Deva
at Sri Purusottama Temple of Puri and stayed in
his palace at Puri for the rest of his life. This was
in the year 1142 A.D. Cholaganga Deva started
the construction of the present Jagannath Temple
at Puri. At the coronation function temple dancers
from Sri Kurumapatak were called to perform
dance at the Lord Jagannath Temple. This sect
was known as Sani sect. As found out from the
temple inscriptions at Madhukeswar temple and
Simanchal Temple, the Ganga Kings had
17
encouraged this tradition of temple dancers in the
kingdom of Kalinga, and then in the Kalinga
empire.
As recorded in an inscription in the
Lingaraj Temple, Bhubaneswar, during the reign
of Raghava Deva, the second son of Chodaganga
Deva, all the land rights for a region called Baheda
Khanda were purchased from Sadhu Pradhan
Jayadeva of Kurmapataka and donated to
Kirtivaswar (Lord Lingaraj) by Medam Devi, her
father Komi Nayaka and her mother. The three
of them had donated three Akhanda Dipas
(arrangements for non-stop burning of oil-lamps)
to the temple. They belonged to the Sani sect.
A similar inscript ion appears on
Madhukeswar temple at Mukhalingam where
Komi Nayak, father of Medam Devi and his wife
Nagama Devi (Title of Gudisani meaning Temple
Dancer) arranged for offering anakhanda deepa
in the temple in 1113 A.D.
There is yet another inscription in the said
Madhukeswar temple inwhich they had offered
akhanda deepa in 1128 A.D. The system of
providing Akhanda Dipa and donating rights of
land to the deities appears to be common in the
three events in 1113, 1128 and 1156 A.D. The
presence of Jayadeva and his description as
Kurmapataka Pravara establishes that he had
close lineage with the dancing families of
Kurmapataka who had come to Orissa during
the period of Chodaganga Deva. had the Gudi
Sanis (temple actors and dancers) been socially
looked down upon, then their donations to
temples could not have been accepted and
immortalized in inscriptions. The two inscriptions
at Madhukeswar temple and the one at Simhachal
temple were discovered, read and interpreted by
Dr. Satyanarayan Rajaguru, the Pitamaha Bhisma
of historians and linguists of Orissa. Read with
the inscription at Lingaraj temple, it leads to the
conclusion that Jayadeva had been a member of
the teaching facult y of the school at
Srikurmapatak. He might have studied there as
well. After his childhood education he must have
gone to Srikurmapataka and gained experience
in composition of poetry and music and in dancing.
He perhaps came back to Orissa alongwith the
group and performed in the Puri temple.
Sri Jayadeva, the celebrated Poet of
Gitagovinda was born in the village Kenduvilva
Sasan or Kenduli Sasan in Balipatna P.S. in
Khurda district, a part of the earlier Puri district.
He was most likely born in the first part of 12th
Century A.D. during the reign of Cholaganga
Deva. Kenduli Sasan close to the river Prachi then
was inhabited mostly by Brahmins. The presiding
deity in the village is Ambika and there is a
Nrusingha temple as well. Jayadeva must have
gone for higher education in Sanskrit literature and
music to Kurmapataka and after education he must
have become a tutor there. That is why the two
titles Kurmapataka Pravara` and Sadhu
Pradhan` have been mentioned against him in the
Lingaraj Temple inscription. Read together the
three inscriptions indicate to the fact of close
association of Jayadeva to the family of Komi
Nayaka and to the institution at Kurmapataka.
Prachi valley witnessed the rise and
spread of Jainism, Buddhism, Saivism, Saktism,
Sun cult and Vaisnavism. Kenduvilva and many
other villages nearby are full of religious
monuments dedicated to different cults.
Numerous temples were erected by Bhaumas,
Somavanshis and the Gangas in the Prachi valley.
Village Kenduli Sasan has rich relics of brick and
stone temples and sculptures of Saiva, Vaisnav
and Sakta cults as well as Buddhism belonging to
the period between 9th and 13th Century A.D.
In Prachi Valley whether the temple has a Sakta
or Saiva deity, Gitagovinda is recited on festive
18
occasions which symbolise the influence of
Vaisnavism over Saktism and the immense
popularityof the text of Gitagovinda.
The copper plate grant of Nrusingha
Deva the 4th which was recovered from a tank
near the Nrusingha temple of Kenduli village, was
originally issued from Varanasi Katak in A.D.
1383. It refers to establishment of Narasinghpur
Sasan donated to one Mahapatra Narahari Das
Praharaj who was the minister of Narasingha
Deva. This Sasan is located very close to
Kenduvilva on Prachi valley. This grant also
contains the names of Olatapura and Attahaspura
Sasan adjacent to Kenduli established by
Attahasdeva, the youngest son of Cholaganga
Deva.
To quote Dr. Harish Chandra Das
'While discussing about the historical
background of Jayadeva it will perhaps not be
out of place to glance through how he introduced
Radha and Mahava and dasavatara cult in the
most popular manner breaking the stylized
tradition. From this point of viewGitagovinda is
virtually a historical text unfurling the historical
truth through his poetic narration. The cult of
Madhava which is historically proved to be in
existence in Orissa from seventh or eighth century
A.D. gained great momentum from the time of
Jayadeva. The first epigraphical evidence of
Madhava, we come across in the copper plate
grant of Madhavaraja of the Sailodbhava dynasty,
where the scribe has particularized the epithet of
Chakrayudha Madhava. The image of
Nilamadhava installed by the Bhanja monarch at
Gandharadi (ninth century A.D.) comes next in
order of chronology. The image of Santosa
Madhava recorded to in the copper plate grant
of Indravarman Codaganga, Madhava in the pillar
inscriptions of Rellivalasa at Srikakulam,
numerous Madhava sculptures and temples in
Prachi valley are clear revelation of the long-
continued tradition of Madhava worship in Orissa
with wide distribution in Prachi valley, the birth
place of Jayadeva who in course of his wanderings
and as a devout worshipper of Madhava infused
exuberantly in his Gitagovinda the lucid
description of Madhava, his deity of love and
admiration.
Sri Jayadeva introduced the cult of Radha
and Krishna through his Gitagovinda and due to
the influence of Shrimad Bhagavata and
Gitagovinda and the composite figure of Krishna
and Vishnu as Gopinath became very popular in
Orissa. When Vaisnavism became the state
religion of Orissa the composite sculpture of
Krishna and Vishnu with upper two hands in the
pose of playing the flute, standing in Tribhanga
associated with Astagopi and cattle which is the
characteristic feature of Krishna, indicates the
amalgamation of two cults at a time. The long
continued tradition of Dasavatara had a deep
imprint on Sri Jayadeva who popularised the 10
Avatars of Vishnu in lucid language, which would
be put to music and dance.
To quote Dr. Harish Chandra Das again
'That the concept of ten incarnations of
collective images particularly in coastal Orissa
which speak in short the prevalence of
dasavatara worship in Orissa before the advent
of Jayadeva. Jayadeva in his composition
(dasakrtikrte) has shown the greatness of Lord
Visnu in his ten incarnations individually.
It was Sri Jayadeva who institutionalised
the Devadasi system introduced from the time of
19
Somavansi Kings. Devadasis or Maharis were
women dedicated to the deity in the temple for
performance of dance and music. The importance
of this dancing service became so great that a
special structure called Natamandir was added
to the Viman and Jagamohan.
Madhava Patnaik a Vaishnavite poet was
a contemporary of Panchasakha and Sri
Chaitanya. As is well known, Panchasakharefers
to Balarama Das, Jagannatha Das, Achyuta Das,
Ananta Das and Yashovanta Das, the saint poets
of Orissa. Madhava Patnaik has described in
detail the events in the later part of life of Shri
Chaitanya in Puri. In this book is given a graphic
description of the development of Vaishnavism in
Orissa.
The following are the facts from this book
which clearly mentioned that (i) Chodaganga Deva
actually renovated an old temple and started
construction of the present Jagannatha temple,
and he had conducted in the temple itself the
Abhishek of crown prince Kamarnava Deva, (ii)
On this occasion dancers were called from the
South to perform dance and drama in the Puri
temple. (iii) A small Natamandir was constructed
and arrangements were made for presentation of
regular dance and drama by Maharis (Temple
dancers) in the honour of Lord Jagannatha in the
temple during the time of Chodaganga Deva and
his son. (iv) Chaitanya after he had arrived at Puri
was advised by Pandits to go to Rajamahendri to
meet Raya Ramananda who was Governor of this
southern province of Orissa. There Chaitanya
came t o know about Dvaitavada and
Advaitavada from Raya Ramananda (v) Bipra
Jayadeva was born in Kenduli Sasan on the bank
of river Prachi. He worshipped Madhava at Niali.
He was an expert in the Shastras and Puranas,
music and dance. He was a saint poet who
composed the Geeta Govinda in the temple of
Jagannatha at Puri and his wife Padmavati danced
to the tunes of Geeta Govinda before Jagannath.
(vi) Chaitanya and Panchasakha were going on
Sankirtan Trips to different parts of Orissa for a
number of years. One such annual trip started
from Ananta Vasudeva temple of Bhubaneswar
and ended at Puri touching Balakati-Kenduli-
Niali, Madhav, Adaspur, Kakatpur and Konark.
Madhav Patnaik has described as to how
Srichaitanya and Panchasakha were dancing in
Sankirtan singing Gitagobinda at Kenduli village
which was the birth place of Jayadeva. This book
was discovered and compiled from three Palm
leaf manuscripts collected in Orissa from three
places in the early 1980s.
Gitagovinda of Sri Jayadev, therefore,
is accepted as a historical text in addition to its
great literary and religious significance. Sri Jayadev
initially highlighted and systematised the traditional
cults but also introduced his own ideologies, poetic
Laxmi. Jayadeva was influenced by Ramanuja`s
ideology of Jagannath and Laxmi. In Gitagovinda
Krishna tells Radha that formerly she as Laxmi
chose Him as her consort on the sea shore on the
occasion of Samudra Manthana. As a result of
this incident Siva swallowed poison out of despair.
Gitagovinda was composed before 1150 A.D.
and Gitagovinda dance drama was enacted in
Puri temple during the rein of Cholaganga Deva
and Kamarnavadeva. The earliest reference to
Jayadeva outside Orissa was made by poet
Chandabaradai, the Court poet of Prithviraj
Chauhan who was defeated and killed in 1192
A.D. by Md. Ghori in the battle of Tirori. The
next earliest reference is found in an inscription of
Raja Sarangadev in the year 1201 A.D.
Therefore, it is established that Gitagovinda
20
because of its regular performance in Sri
Jagannath temple of Puri assumed popularity
throughout India within a brief perid of 30-40
years of its composition. It combined the best in
the rich traditions of philosophy, literature, music
and dance in Kalinga and Utkal. The philosophy
was developed later into Achintya Bheda Bheda
Tatwa, so ably propounded by Raya Ramananda
and accepted and immortalized by Sri Chaitanya,
Pancha Sakha and the Shad Goswamis.
The Gitagovinda in the History of Shri
Jagannath Temple
The Gitagovinda of Jayadeva, divinely
adorned and devotionally oriented, acquires a
unique place among the famous scriptures of the
world. As a sublime and spontaneous display of
devotional romantic poetry centring around love
episodes of Radha and Krsna, it was the first of
its kind to be included in the ritual service of Lord
Jagannath as an essential component of worship.
Besides its scholastic value, its sweet flow and
the intensely musical verses have attracted the
attention and spontaneous regard of millions of
people through centuries. The singing of the
Gitagovinda alongwith the accompaniment of
music and lovely dance of the devadasi in the
Srimandira was the most fascinating daily service
of Lord Jagannath, which had attracted many
devotees from all parts of India.
In the absence of authentic historical
evidence, it is difficult to say whether there
already existed specific arrangements for
ceremonious worship of Lord Jagannath by the
devadasis before the inauguration of the present
temple or was introduced thereafter. The practice
of temple dances was there in Orissa during the
time of Somavamshi kings as well.
It is ascertained from the Madala Panji
(temple chronicle) that as introduced by the
Ganga emperor Ananga Bhimadeva-II (1211
A.D. - 1228 A.D), the rituals and services of
Lord Jagannath were performed by a number of
functionaries (sevakas). Their duties, rights and
responsibilities had been codified. The sevakas
belonged to different castes and were all more or
less equal in importance in relation to Lord
Jagannath. They were inter-dependent and were
mutually connected by a vast network of rituals
and services. As the worship of the lord was
conducted by 36 different communities, it was
termed as Chhatisa niyoga. This niyoga or
collective service comprised of three classes or
divisions. These were :
(i) Pratihari Niyoga
(ii) Suara and Mahasuar Niyoga and
(iii) Bhitarachhu Niyoga
It was the responsibility of t he
representative of a niyoga to supervise the conduct
of worship of Lord Jagannath. The Gajapati as
the head of the niyoga had the right to inflict
suitable punishment if any sevak neglected in his
duties. For centuries, in spite of many national
and political calamities, this mode of worship to
the Lord has been continuing for generations.
Orissa came under the Mughal rule which
continued till 1751 A.D. i.e. till the beginning of
Marhattarule. During the Muslim rule, the temple
of Lord Jagannath was subjected to many
assaults. As a result, the Deities had to be carried
many a times for safe to dense forests and often
buried underground for protection from the
Muslim intruders a number of times. Needless to
say that during these days of external attacks,
the usual ritualistic services were disturbed. But,
the Deities were repeatedly restored. After the
Marathas took over, no deviation from the
specified mode of service to the Lord has ever
come to notice.
21
In 1751 A.D. the Marhattas occupied
Orissa including Puri, the abode of Lord
Jagannath. They appointed officials to supervise
the day to day conduct of worship of Lord
Jagannath. In 1803 after Orissa came under the
British rule, an English officer Mr. C.Grom
prepared a report on the rituals of service to Lord
Jagannath in Srimandira basing it on the practice
then in vogue. This report speaks of 36 distinct
units of service with 250 persons engaged in
day to day conduct of worship to the Lord. In
this list of elaborate rituals of service, mention
has been made of recital of the Gitagovinda before
the sanctum of Lord Jagannath accompanied by
the dance of devadasi (unmarried young girls
dedicated and married to the Lord). For this,
many artistes adept in the art of music and dance
had been appointed. They were treated as
employees of the State and were granted all rights
and privileges meant for royal officers. This
practice has started from the time of Emperer
Chodaganga Deva.
The service of singing of the Gitagovinda
to the accompaniment of the dance of the
devadasi has been duly recognised as an
indispensable phase of worship codified in the
Record of Rights`. The Gitagovinda was sung
every evening in the inner shrine called Jaya-
Vijaya Dvara (guarded on both sides by images
of celestial guards Jaya and Vijaya).
After nocturnal offering of arati, Lord
Jagannath, the Lord of Universe, puts on the most
attractive Badasinghara Vesa gorgeously
attained in costly apparel and decorated lavishly
with flowers and garlands. Then, the Gitagovinda
was sung with a devadasi dancing before the
Lord. Thereafter the deities are covered with
silken scarfs which are known as Gitagovinda
khandua (the sevaka rendering this service is
known as the Changuda Mekap). The devadasis
are named maharis and their dance is called
mahari- dance or rahasa. In course of time, the
mahari dance has evolved into Odisi dance.
According to the Madala Panji, the
Ganga emperor Narasingha Deva II (1278 A.D.
- 1307 A.D) better known in the history as the
poet Narasingha Dev had for the first time
introduced singing of the Gitagovinda in the
service of Lord Jagannath. 'E uttaru kavi
Narasingha Deva raja hoile, Gitagovinda
siloukale. (Madala Panji, Prachi Edition,
page.36)
But, at the same time, it has also been
recorded in the Madala Panji that emperor
Kamarnava Deva (1146 A.D. - 1156 A.D.) better
known in historical accounts as Ekajata Deva,
the eldest son of Chodaganga Deva, the founder
of the Ganga empire, did not touch even a drop
of water without hearing the Gitagovinda. It,
therefore, goes without saying that the
Gitagovinda had been composed much earlier
than the reign of Narasingha Deva II and had
already earned royal attention and patronage.
Had it not been so, the recitation of the
Gitagovinda before Kamarnava Deva would have
been out of question. It is quite apparent that the
Gitagovinda had already acquired a conspicuous
place in the ritual service of Srimandira, but for
some reason or other, this practice was
discontinued and was revived again by
Narasingha Deva II.
After Sri Jagannath Temple Act` was
passed by the Government of Orissa in 1956,
the ritual services were brought into the zone of
legal jurisdiction. According to the provision of
the Act, there are 119 services instituted and they
are recorded on hereditary basis in the Records
of Rights`. Before the enforcement of Sri
Jagannath Temple Act-1956` hereditary rights of
22
seva (service) used to be recorded in the
Chhamu Chitau. The hereditary rights of seva
are :
(1) Gajapati Maharaja, (2) Parichha or
Rajaguru, (3) Chhatisa Niyoga Nayak Seva
(4) Pattayosi Mahapatra Seva, (5) Bhitarachhu,
(6) Talichha (7) Mudrahasta, (8) Deula Purohita,
(9) Pujapanda, (10) Badapanda, (11) Pasupalaka
or Puspalaka Seva, (12) Mudra, (13) Khuntia,
(14) Bhandara Mekap Seva, (15) Palia Mekap
Seva, (16) Akhanda Mekapa Seva,
(17) Changada Mekapa Seva, (18) Khata Seja
Mekapa Seva, (19) Pratihari Seva, (20) Daita
Seva, (21) Pati Mahapatra Seva, (22) Patribadu
Seva, (23) Garabadu Seva, (24) Suarabadu,
(25) Khuri Nahaka, (26) Mukha Pakhala
Sevaka, (27) Ghatuari, (28) Gochhikara Seva,
(29) Suna Gosvami Seva, (30) Muduli Seva,
(31) Alati Balita Seva, (32) Purana Panda,
(33) Datta Mahapatra Seva, (34) Lugadhua and
Panikunda Seva, (35) Ballabha Yogania Seva,
(36) Bimana Badu Seva, (37) Anasara
Suddhasuara and Suddhasuara, (38) Hadap
Nayak (39) Bidia Yogania, (40) Khatuli Sevaka,
(41) Asthana Pratihari, (42) Kothabhoga Yogania
(43) Pradhani, (44) Paika, (45) Lenka Sevaka,
(46) Suar Niyoga Nayak Seva, (47) Suara
Niyoga and Mahasuara, (48) Jagia Mahasuara
or Rosa Amina, (49) Badu Suara Seva, (50) Panti
Badu, (51) Amalutodali Purakharadi,
(52) Tolabadu (53) Rosapaika (54) Bahara Deuli
Suara, (55) Bahara Deula Yogania, (56) Rosadho
Pakhalia, (57) Handi Yogania and Tolabadu Seva,
(58) Biribata Samartha Seva, (59) Kotha Bhoga
Pania, (60) Panikipata, (61) Nikapa or Gandhana
Nikapa Seva, (62) Biribuhia, (63) Daudibata,
(64) Chunara Garuda Sevaka, (65) Sabata
Niyoga, (66) Paniapata, (67) Mandani Seva,
(68) Chaka Apsara Sevaka, (69) Mulia Suansia,
(70) Binakara Seva, (71) Darpania or Bairakhia,
(72) Kotha Suansia, (73) Mahabhoi,
(74) Gitagovinda Sevaka, (75) Bhitaragaani
Devadasi, (76) Samprada Niyoga,
(77) Dayanamali, (78) Madeli, (79) Prasadabadu,
(80) Badu Mahapat ra (81) Tatua,
(82) Patarabandha, (83) Chhatara Niyoga Seva,
(84) Kahalia, (85) Sankhua, (86) Parvayatra
Yogania, (87) Chitrakara, (88) Rupakara,
(89) Bania Sevaka, (90) Tamara Bisoi,
(91) Karatia, (92) Benta Bindha Paika,
(93) Patara Bisoi, (94) Kalabethia, (95) Daraji
Seva, (96) Kumbhara Bisoi, (97) Ratha Bhoi,
(98) Malachula Seva, (99) Banua, (100) Chakra
Dihudia, (101) Ojha Maharana Seva,
(102) Ghant a Seva, (103) Ghantua,
(104) Rathadakua, (105) Badhei Sevaka,
(106) Baidya, (107) Amunia Chhatara,
(108) Chhamu Dihudi, (109) Chapa Behera,
(110) Chapa Dalai, (111) Mapasaita Karana or
Mahaprasastha Seva, (112) Tadau Karana,
Bhandara Karana, Changada Karana,
(113) Deula Karana, (114) Bethi Karana,
(115) Kotha Karana, (116) Charcha Karana,
(117) Dayanapatri, (118) Chaula Bachha Karana,
(119) Matha and Byaktigata Seva.
Among the sevas and the sevakas
mentioned above, the Gitagovinda seva
(Sl. No. 74), Devadasi Seva (Sl. No.75) and
Samprada Niyoga (Sl. No.76) can be taken note
of for further discussions :-
1. The Gitagovinda Seva :
The functionaries engaged in this service
are known as the Sadhibandha Sevaka. They sing
the Gitagovinda daily close to the inner shrine at
the time of Chandanalagi (smearing the deities
with sandal paste).
23
2.Devadasi Seva (Bhitara Gaani) :
The devadasi used t o sing t he
Gitagovinda and perform dance at different times
of the day. Besides, she used to sing and dance
at the time of Baladhupa (first morning offering of
food to the deities) every morning in the month of
Kartika. She used to attend the chandanayatra
of the Lord which continued for 42 days, singing
and dancing in the chapa (rowing boats) for 21
days. In addition to this, the devadasi used to
sing and dance at Rukmini vivah (marriage of
Rukmini Devi), at the temple of Laksmi, on the
day of Niladri Vije while accompanying Laksmi
to bheta mandapa. She also used to attend to
16 phases of worship of Bimala in the month of
Asvina and also join the ritual procession. The
devadasis were Sadhibandha sevikas, which
indicates their superior rank of service to the Lord.
According to the prevalent rules of the temple,
they were forbidden either to marry or indulge in
sexual activities. But they could adopt a daughter
of a touchable caste, who could be enlisted as a
Sadhibandha Sevika after she was trained
adequately in music and dance. At the time of
any inconvenience, such as the monthly periods
the Samprada Niyoga is to manage the service
assigned to the Devadasi.
3. Samprada Niyoga :
The Samprada Niyoga is to sing and
dance at the time of first morning offering of food
and sandal paste daily. During the Chandana Yatra,
they dance on the chapa (rowing boats) and in
Bahuda, Rukmini marriage. At jagmohan they
used to sing and dance.
Emperor Bhanu Deva II of Ganga dynasty
(1306/1307 A.D.-1328 A.D.) ruled the country
in the name of Purusottam Jagannatha and
hence, he was termed in history as Purusottama
Deva. According to the copper plate inscription
of the Punjabi Matha in Puri, he was a devotee
of Govinda and Sripati. He attempted to
compose another Gitagovinda following the
original one and introduce it in the daily worship
of srimandira. He had to face strong opposition
by the sevakas engaged in temple service. This
was said to be the royal edition of the Gitagovinda.
Some verses of this royal edition of the
Gitagovinda found place in the copies of the
original Gitagovinda which are called the
interpolated verses of the Gitagovinda. Kaviraj
Narayan Dasa, the famous Oriya commentator
has not furnished in his Sarvangasundari Tika
the explanatory notes on these interpolated verses.
During the reign of Gajapati emperor
Purusottam Deva (1467-1497 A.D.) of Surya
dynasty, Kavichandra Ray Dibakar Misra had
composed Abhinava Gitagovinda in the name of
Purusottam Deva in imitation of the original
Gitagovinda. The Gajapati included the Abhinava
Gitagovinda in the daily ritual service of Lord
Jagannath and withdrew the Gitagovinda of
Jayadeva. The priests were opposed to it but they
could not raise their voice in fear of the Gajapati.
After Purusottam Deva, his son Prataprudra Deva
(1497-1540 A.D.) ascended the throne. In the
Vaisnava Lilamrta, Madhava Patnaik has
described this episode in a very interesting
manner, as described earlier.
The commands of Gajapati emperor
Prataprudra Deva embodied in the inscription are
engraved on the temple wall in old Oriya script
and style as follows :
Vira Sri Gajapati Gaudesvara
Navakoti Karnata Kalavargesvara Birabara
Sri Prataprudra Maharajankara Samsta 4
anka srahi kakada su 10 budhabare
abadharita agyan pramane Bada thakuranka
sri Gitagovinda thakuranka bhogabele e nata
hoiba. Sanjhadhupa Sarilatharu e nata hoiba.
Badathakura samparada Kapilesvara
24
thakuranka bandha nachunimane puruna
samparada telengi samparada emane savihen
badathakuranka Gitagovindahun ana gita na
sikhibe. Ana gita na gaibe ana gita hoi
paramesvaranka chhamure na haba. E nata
bitarake Vaisnava gaana charijana achhanti,
emane Gitagovinda gitahi gaibe.
Ehankatharu asiksita mane ekasvarare suni
Gitagovinda gitahin sikhibe. Ana gita na
sikhibe. Eha je pariksa ana gita nata karaile
jani se Jagannathanka droha karai-
(Journal of Asiatic Society of Bengal -Vol. LXII,
1893, pp 96-97, quoted in Sri Jayadeva O Sri
Gitagovinda, pp 89.
The meaning of the above inscription is as follows :
1. At the time of every offering of Bhoga,
and from evening worship till the Badasinghara at
night, only the Gitagovinda is to be recited
accompanied by dance before the Lords.
2. The followers of Lord Balabhadra, the
permanent dancing girls engaged by king
Kapilesvar Deva, the old followers shall not learn
or sing anything other than the Gitagovinda, and
at the time of dance before the sanctum sanctorum
of Lord Jagannath, no song other than the
Gitagovinda would be sung.
3. Besides these four units of singers and
dancers, four Vaisnava singers specially
appointed would only sing the Gitagovinda. They
shall train the illiterate devotees to sing the
Gitagovinda only and no other scripture.
4. Any sevak who disobeys this and allows
singing from any scripture other than the
Gitagovinda or permit with any other song to
accompany a dance shall be treated as a sinner
against Lord Jagannath.
This announcement dates back to the 10th
day of the lunar fortnight of the month of Kakada
in the 4th regnal year of Gajapati emperor
Prataprudra Deva which was a Wednesday.
According to astrological calculation this was the
10th day of the lunar fortnight of Asadha that is
the 6th July, 1500 A.D. It was the day of
celebration of Bahudayatra of Lord Jagannath.
This stone inscription may be attributed
to the following causes :
1. Some men of higher rank engaged in the
daily service of the Gitagovinda or some learned
pandits or revered saints might have attempted
to substitute the Gitagovinda with their own
writings. Such an attempt must have caused great
provocation to the sevak community who might
have revolted to safeguard the sacred tradition of
the srimandira service. This might be the reason
of issue of royal commands by the Gajapati
emperor Prataprudra Deva during his reign.
2. It is also possible that the singing of the
Gitagovinda of Jayadeva which had been in vogue
for generations was discontinued for some reason
or other in worship of Lord Jagannath and the
inscription was meant for reintroducing the same.
The fact that such reintroduction was made in 1500
AD makes it clear that it was not due to Sri
Chaitanya`s advent in Orissa. A set of historians
presumed earlier that revival of Vaishnavism and
popularity of Gita Govinda after Sri Chaitanya`s
visit compelled Shri Pratap Rudra Dev to issue
the royal edict. There cannot be a worse distortion
of history than the concept that Radha was
introduced to Orissa by Sri Chaitanya.
3. The withdrawal of the Gitagovinda of
Jayadeva for sometime and introduction of the
Abhinava Gitagovinda had caused a lot of
dissatisfaction in the temple. In order that such
adventures should not be repeated, the stone
inscription was issued.
4. There is a fascinating legend prevalent in
Orissa regarding this incident. It is said that the
25
palm leaf scripture of the Gitagovinda by Jayadeva
and the Abhinava Gitagovinda by the king were
placed in the sanctum of Lord Jagannatha and
the door of the shrine was bolted. The next
morning on reopening the door, it was found that
the Gitagovinda of Jayadeva was on the throne
whereas the Abhinava Gitagovinda had fallen off.
The pride of the king was thus curbed and while
singing the glory of the Gitagovinda of Jayadeva,
he reintroduced it in the daily service of the Lord.
This legend finds place in the book Vaisnava
Lilamrta by Madhava Patnaik.
The above discourses bear ample
testimony to the fact that in the history of
Srimandira no deviation whatsoever from the
established traditional rituals has been recorded.
The sevak community did not meekly submit to
nor did blindly accept out of fear any arbitration
of the Gajapati emperor if that was not in
conformity with the age-old convention of
Srimandira
The poet Madhava Patnaik, in the
Vaisnava Lilamrta, has given some personal
indications at the beginning of his work from which
it is learnt that he had completed the book in
1535-36 A.D. i.e. during the 48th regnal year of
Gajapati emperor Prataprudra Deva. From this
scripture it is known that he had the privilege of
associating himself with Srichaitanya. It was in Puri
that in 1533 A.D. Srichaitanya breathed his last.
During long 18 years of his stay in Puri, Madhava
Patnaik had become a favourite of Srichaitanya
Deva.
The Vaisnava Lilamrta contains nine
chapters only. In these chapters he has mentioned
the names of many holymen, saints and kings not
only of his own time but also of an earlier period.
Among them appear saints like Sridhar Svami,
Madhavendra Puri, Isvar Puri, Raghavendra Puri,
Kabir, Guru Nanak and kings like Chodaganga
Deva (1078-1147 A.D.), Kamarnava Deva
(1147-1168 A.D.), Bhima Deva (1211-1238
A.D. ), Bhanu Deva (1352-1378 A.D. ),
Kapilendra Deva (1435-1467 A.D.), Purosottam
Deva (1467-1497 A.D.) and Prataprudra Deva
(1497-1535 A.D.).
It is learnt from the scripture the
Prapannamrta (Chapters 35 and 36) written by
Anantacharya that Chodaganga Deva had
introduced nama sankirtana (singing of God`s
name) in Srimandira. Ramanuja had transformed
him from Parama Mahesvara` (great devotee
of Siva) to Parama Vaisnava` (great devotee
of Visnu) as depicted in Korny copper plate of
Chodaganga (vide JAHRS-vol-IV, p-113). After
Chodaganga, his eldest son Kamarnava Deva
ascended the throne as recorded by the poet
Madhava Patnaik in his scripture. It is learnt from
the Madala Panji that Kamarnava Deva did not
take a morsel of food or a drop of water without
listening first to the sacred verses of the
Gitagovinda (Madala Panji, Prachi Edition,1940,
p-36).
The Vaisnava Lilamrta of the poet
Madhava Patnaik records that the devadasi dance
was already in vogue in Srimandira which was
further developed in the reign of Kamarnava
Deva. The Devadasi dance has been mentioned
as Rahasa dance.
Nachuni mahari jogaila,
Nata hoila hari lila.
Maharimane nrtya kale,
Rahasa nrtya e boile.
(Vaisnava Lilamrta, Ch.-II)
The tradition of Rahasa dance and nama
sankirtana had its beginning since the reign of
Chodaganga Deva. It is said that Chodaganga
Deva celebrated the coronation of his son
26
Kamarnava Deva on the day of inauguration of
the inner chamber of Srimandira. Ananga
Bhimadeva, described as Bhimadeva in the book
started the Gitagovinda seva.
Gitagovinda nata sabha,
Mandire pratyaha hoila.
Raja se seva bhiaila,
Kenduli sadhi jogaila.
Sri Gitagovinda rasa e
Srijagannathara priya e.
Boli kalaka e bhiana
Bhagate hele tosamana.
Gitagovinda nata puna
Nata mandira kala bhiana.
Rahasa nrtyara nimitta
Gitagovinda kale nrtya.
Bhimadevara e kirati
Kale se gala kirti thapi.
(Vaisnava Lilamrta, Ch.-II)
Meaning:- Gitagovinda dance and music as a
Seva got performed daily in the temple. The king
introduced this Seva and provided Kenduli saree
to the Lord. This Seva was very dear to Lord
Jagannath. A dance hall (Nata Mandir) was
constructed by the king for the performance of
Gitagovinda music and dance. Gitagovinda dance
was introduced as Rahas Nrtya. Introduction of
this Seva and construction of Nata Mandir made
Bhima Deva, a name to remember for ages.
It has been mentioned in the Vaisnava
Lilamrta that before the coronation of Bhima Deva,
Jayadeva had passed away at Puri. Bhima Deva
of the Vaisnava Lilamrta may be either emperor
Aniyanka Bhima Deva (1190-1198 A.D.) or
Ananga Bhima Deva of Ganga dynasty, who ruled
from 1211-1238 A.D. The possibility of his being
the earlier Anyanka Bhimadeva (1190-1198 A.D.)
is more because Chand Bardai of the durbar of
Prithviraj Chowhan of Delhi had mentioned about
Jayadeva and Gitagovinda in his book Prthviraj
Rasa much before 1192 A.D., the year of death
of Prithiviraj and fall of the last Hindu king of Delhi.
According to the Vaisnava Lilamrta,
Bhima Deva, at the request of the Sevakas, had
built the Natamandira for recital of the
Gitagovinda. Of course it was about three
centuries after the introduction of the Gitagovinda
in the temple worship that the poet Madhava
Patnaik composed the Vaisnava Lilamrta. If it is
taken that Jayadeva was living at that time, he
must have received royal recognition and
patronage. In the words of Madhava Patnaik :
Vipra se Jayadeve nama
Ksetrabaraku agamana.
Kenduli sasana ta grama
Prachi nadire tate puna.
Niali Madhava samipe
Bhagati kala nana rupe.
Sastra purane vichaksna
Kavitva marge tara mana.
Gita se rachivi boila
Ksetravaraku mana dela.
Sri Jagannathara samipe
Suddha satvika mati bhave.
(Vaisnava Lilamrta, Ch. - II)
Meaning:- Jayadeva, a Brahmin by caste, came
to Puri (Sriksetra). He belonged to Kenduli
Sasana on the bank of the river Prachi. He
worshipped Madhava at Niali. He was a very
talented person in the scripture and took to writing
poetry. He wrote the Gitagovinda at Sriksetra in
the temple of Lord Jagannath. While writing about
the life of Jayadeva, he has mentioned about the
composition of the Gitagovinda in Srimandira in
fornt of Lord Jagannath. Madhav Patnaik has gone
on to further describe as follows:-
Padmavati was adept in Rahasa dance
and was dancing to the sweet and immortal verses
of the Gitagovinda. The melodious recital of the
27
verses of the Gitagovinda through the voice of
Jayadeva accompanied by the elegant dance of
Padmavati fascinated the hearts and soul of the
devotees. As a result of this, singing of the
Gitagovinda and display of this dance were
codified by the then king in the daily ritual services
of Srimandira.
It is a custom to cover the body of the
Lord at the time of the Badasinghara with a scarf
containing the verses of the Gitagovinda woven
into it. These scarfs or sarees were brought
especially from the weavers of Kenduli on the
Prachi river. Now these sarees are made in a
village Nuapatna in Tigiria Block of Cuttack
district. This seva has been continuing since then
in the services of Lord Jagannath. After calling
of the identified neem tree for navakalevara of
three deities, the logs are usually brought to the
temple of Jagannath by covering them with the
Gitagovinda khandua through huge man-drawn
carts. The clothes prepared by the weavers of
Kenduli called Kenduli saree was very famous at
that t ime according to the scripture
Kanchanalata of the 17th century A.D.
Sahaje dvija nandini tejodhama kanaka kanti
Kala Kenduli sadhi bhidi pindhichhi motidanti
The poet Bhupati Pandit of 17th century
A.D. had composed the scripture Prema
Panchamrta dedicated to Lord Krsna. It has
been calculated that this scripture was completed
by 29th January, 1694 wherein there has been a
mention of the dance of Devadasis accompanied
by singing of the Gitagovinda.
Sri Jayadeva kavikrta
Gayani gaile basanta.
Bina mrdanga tala nade
Nachuni nachanti anande.
E rupe sanamana kari
Ta pachhe karana pachari.
(Prema Panchamrta, Ch III, Prachi Edition, p. 94)
Seikh Subhodaya and Jayadeva
The Gita Govinda by Sri Jayadeva was
regularly sung and danced in the temple of Lord
Jagannath at Puri as part of the Lord`s nocturnal
liturgy. The Seva has started from the days of
Jayadeva during the period of Kamarnava Deva,
son of Ganga emperor Chodaganga Deva.
Suryavansi Gajapati Pratap Rudra Deva
promulgated an order through a temple inscription,
dt. 8.7.1500 which ordained that the singing of
Gita Govinda would henceforward be a
compulsory daily ritual in the temple for which
the king even appointed singers and dancers for
the purpose as mentioned by historian Kedarnath
Mohapatra.
As mentioned by Sri Nilamadhav
Panigrahi, an eminent musicologist, the Gita
Govinda 'surpasses all other preceding works of
the great master poets by dint of its lyricality, both
from the view points of inspiration and expression,
if not by its poetic greatness. But by its 'three
dimensional appeal of music, poetry and mystic
spiritual content it has earned unsurpassed
popularity tantamount to adoration as mentioned
by Kedarnath Mahapatra, an eminent historian.
Its popularity has led to controversies in
the last century regarding the birth place of poet
Jayadeva. As clearly said by Devi Prasad Das -
'The Gita Govinda which has created a
worldwide sensation in the field of the art and
literature of the country is believed to be the
product of Jayadeva and Padmavati in Jagannath
temple of Puri where its recital is an important
ritual since several centuries.
The controversy regarding the nativity of
Jayadeva, according to Late Pandit Nilamani
Mishra is hardly one hundred year old. After
Orissa had lost its identity towards the beginning
of the 19th century, its social and cultural life was
28
vitiated by a number of economic and political
factors. Therefore, its cultural materials were
wrongly used by the scholars from outside. These
types of cheap controversies gained ground as a
result of such uses. A story in Seikh Subhodaya
is cited as evidence of Jayadeva belonging to the
Court of Laxman Sena.
Seikh Subhodaya is actually a recent
work but it is said to be a work of the 2nd half of
16th century AD. It was edited by Dr. Sukumar
Sen and published by Asiatic Society of Bengal
in 1963. It is narrated in this book that Budhan
Misra, the court singer of Kapilendra Deva
Gajapati of Orissa went to the court of Laxmana
Sena of Benga1 and he had challenged Jayadeva.
This does not hold historically because Kapilendra
Deva and Laxman Sen are not contemporaneous
to each other. While Laxmana Sen ruled from
1170 to 1250 AD, Kapilendra Deva belonged to
the 15th Century AD.
This book narrates fanciful stories about
Umapati Dhara. Govardhana Acharya, Dhoyi and
Jayadeva, all of whom are mentioned in the Gita
Govinda. The story on Jayadeva is as follows -
A certain Brahmin called Budhan Mishra
appeared in the assembly hall of Raja Laxmana
Sen and claimed that he had attained great heights
in composition of music, for which he had been
honoured by Gajapati Kapilendra Deva of Utkal.
He had obtained a 'Writ of Victory from Gajapati
of Utkala. He then started singing in Patta Manjari
Raga and all the leaves of a nearby Aswastha tree
fell down. All the courtiers started praising Budhan
Mishra. The King decided to honour him with a
Writ of Victory. It may be mentioned here that
Patta Manjari is not known to be an established
Raga. It is difficult also to believe that King
Laxmana Sen was holding his open assembly
(durbar) under a Aswastha Tree on the shore of
river Ganga.
Just at that time Padmavati, wife of
Jayadeva was coming back from her bath in river
Ganga. Hearing sounds of joy in the royal court,
she entered the hall and announced that 'Unless
anyone defeats her in music in a competition, no
one should be awarded a Writ of Victory.
Seikh, a Muslim saint was present in the
king`s court. He asked Padmavati to sing a song
and create some miracle. Padmavati started
singing a melodious song in Gandharva Raga. All
boats floating in the river came back on their own
to the shore. All courtiers were amazed.
Budhan Mishra was reluctant to enter into
a contest with a woman. Seikh ordered that
Padmavati`s husband Jayadeva be called to the
royal court. Jayadeva came to the Court. Seikh
told Budhan Mishra to sing so that new leaves
came out in the Aswastha tree. Budhan Mishra
expressed his inability to sing like that.
Poet Jayadeva then started singing in
Basanta Raga and immediately new leaves started
sprouting in the Aswastha tree which had lost all
leaves earlier. As ordered by the Seikh no Writ
of Victory was given to Budhan Mishra. He was
only given some small gifts and asked to leave
the court.
Since the name of Kapilendra Deva was
mentioned in this story, the book obviously has
been written during or after the 16th century,
describing events during the rule of Laxmana Sen
in the 12th century A.D. Famous historian Dr.
Rakhal Das Banerjee has written about this book
as follows, 'The book does not contain a single
passage which may be taken as historically
accurate.
According to Dr. Suniti Kumar Chatterjee
'Although it is a forgery, its date certainly is not
later than the 16th century and is sufficiently old
for it to retain its importance as a valuable work
29
on early Bengali history and culture. This has
been quoted by Dr. Prasanta Kumar Dasgupta in
his book Jayadeva and his Contemporaries`
at pages 99 to 100.
Dr. Sukumar Sen has written that though
this book does not contain any historical event, in
some of the myths one can notice some historical
evidence.
According to Dr. Bhagaban Panda, this
book as its very title indicates, was written to
celebrate the auspicious coming of a Muslim Pir
(saint) to a country which first knew Islam, where
he was highly honoured. All prominence was given
to the Seikh and, Laxmana Sen and his ministers
have been described as thieves, corrupt and lusty.
Shri Jayadeva and Padmavati were great
devotees of Sri Krushna and had no lust for
wealth. It can never be imagined that they appear
in a humiliating manner and sang in the Court of
Laxmana Sen competing with one Budhan Mishra
and receiving presents of a pair of golden earrings
and a pair of bracelets. The book which was
written to sing the glory of a Muslim saint and
had credited all the traditional glories of Laxmana
Sen to the Muslim saint cannot be cited as an
evidence to establish the connection of Jayadeva
with the Court of Laxmana Sen.
It is really strange as to how scholars of
Bengal have accepted all the insults heaped on
Laxmana Sen, his queen, Umapati Dhar and
Kaviraj Dhoyi by the Seikh. Dhoyi has been
described in this book as an illiterate man coming
to possess divine gift of high poetry. The King
had been described as being jealous of Umapati
Dhar and competing with him for the company of
prostitutes. The queen of Laxmana Sen is narrated
to have assaulted Madhavi, the daughter-in-law
of a merchant at the bathing ghat and that she
snatched away the bangles from her wrist. The
two earrings worn by the husband of Madhavi
were forcibly taken away by the servants of the
queen as per her order. On hearing the story of
complaint from Madhavi and her husband, the
Seikh brought the king and his wife to a trial in his
court. The queen was found herself wearing the
snatched bracelets of Madhavi, and her son was
found wearing the earrings of Madhavi`s husband.
Laxmana Sen, it is described in the book, had to
bear all the insults with his face down cast. What
compelled Laxmana Sena before his defeat in the
hands of Muhammad Bakhiyar to be so
subservient to the Seikh is not known. Had
Laxmana Sen ruled as a vassal king under an
Islam Nawab, he would perhaps become
subservient to a Muslim Pir. But history records
that Laxmana Sen escaped after defeat and came
with a few followers to Puri and sought refuge
under the Ganga emperor Raja Raja Deva.
Such is the book 'Seikh Subhodaya
whose stories are paraded to provide 'historical
evidence of saint poet Jayadeva`s association with
the Court of Laxmana Sen and his birthplace in
Bengal.
The Five Jewels of Laxmana Sena
Jayadeva was one of the greatest poets
of India and an unrivalled master of erotic religious
lyrical poetry. The poet himself abstained from
mentioning anything about his birth place except
that he was born at a place called Kenduvilwa.
As Dr. N.S.R. Ayengar has said 'The ancient
Indian Poets never recorded anything about their
age, place of birth and time. This, one feels, was
partly because of their modesty and partly
because they perhaps never thought it worthwhile,
since they never had such narrow, parochial
attitude of life. Perhaps they considered
themselves as sons of India writing in the best of
Indian languages-Sanskrit. We are proud of them
as they are to the exclusion of their provincial
30
identities. But distortions of history need critical
scrutiny.
One of the hypothesis on which the whole
superstructure of the arguments in favour of the
birth place of poet Jayadeva`s being in Bengal is
that a stone or wooden slab bearing the names of
Govardhana, Sarana, Jayadeva, Umapati and
Dhoyi was said to have been fixed on the wall of
Laxmana Sena`s assembly hall. This was
discovered by two Vaishnava saints Rupa and
Sanatana in the first part of sixteenth century.
The discovered verse is quoted below
'Govardhanasca Sarano Jayadeva Umapatih.
Kavirajasca Ratnani Samitau
Laksmanasyaca.
Shri Harekrishna Mukhopadhyaya in his
book Birbhum Vivarana has mentioned that Shri
Rupa and Sri Sanatana had seen this sloka
inscribed in the assembly hall of Laxmana Sena
at Shridhama Navadwipa. Laxmana Sena`s rule
in a part of Bengal had come to an end in the year
1205 A.D. when Mohammad-i-Bhaktiyar had
occupied his capital and he had fled to Puri, taken
refuge in Orissa, where a powerful Hindu Gajapati
King of the Ganga dynasty was ruling at that time.
The report of this discovery by the two Goswamis
comes to us after four more centuries. According
to Prof. Dr. Banamali Ratha, this verse lacked
authenticity of any kind and it has been accepted
by the scholars as a spurious one or a hearsay.
According to Prof. Thomas E Donaldson
there is no contemporary epigraphic or literary
evidence to prove that Nadiya was ever the capital
of Laxmana Sena or his forefather and successors.
The grants of land and villages by the Sena Kings
were always issued from Vikramapura or in the
case of the later ones from Dharyagrama and
Phalgugrama. No Sanskrit work written during
the Sena period mentions Nadiya as the capital
of Laxmana Sena.
In Pavanadutam, Dhoyi has called the
capital of Sena Kings as Vijayapura. Only
Tabaquet-i-Nasiri written in 1260 A.D., fifty five
years after the collapse of the Sena rule in Nadiya,
ment ions Nadiya as the seat of Sena`s
Government. This book Tabaquat is not a
historical creation as it has given Laxmana Sena
a rule of eighty years and narrates fanciful stories
about his birth and about the destruction of
Nadiya.
Mohammad-i-Bhaktiyar destroyed
thoroughly the city of Nadiya (or whichever was
the capital of Laxmana Sena) and left it in total
ruins. There was no trace of the palace standing.
The verse was supposedly discovered in one of
the gates some three hundred years later by the
two Goswamis, Rupa and Sanatana.
According to Kendarnath Mohapatra a
noted historian, 'The story of the connection of
the five poets with Sidhama Navadwipa originated
and perhaps was circulated in the post-Chaitanya
period when Nadiya came to prominence due to
the birth of the great reformer Sri Chaitanya in
that holy place. There is little evidence, literary or
archaeological that the Gita Govinda was popular
in Bengal in the period prior to the advent of Sri
Chaitanya. In fact Sri Chaitanya first discovered
the jewel of Gita Govinda when he visited Puri in
1509 A.D and came to realise the religious
significance of the work from Raya Ramananda,
Gajapati`s administrator of Rajamohendri on the
banks of the Godavari when he went on
pilgrimage to the south.
According to Dr. Bhagaban Panda the
verse is written in very poor Sanskrit and is a
spurious one like the famous traditional verse cited
describing the nine jewels of the court of
Vikramaditya, also called Chandragupta-II.
The entrance of the Assembly Hall of
Laxmana Sena could not have existed till the time
31
of Rupa and Sanatan Goswami. Dense vegetation
must have covered the ruins of this palace during
these three hundred years. The two great
Goswamis nowhere in their numerous works have
mentioned anything about this so called discovery
of the inscription. Their biographies never mention
this discovery. Neither the contemporaries of Sri
Chaitanya who came from Nadiya nor Sri
Chaitanya himself ever mentioned anything about
Laxmana Sena once ruling over Navadwipa or
about any historical ruins of his palace. No
Vaishnava literature written after Sri Chaitanya has
ever mentioned about this grand discovery by the
two Goswamis.
This verse was most probably composed
by some Pandit of poor competence in Sanskrit
in the first part of 20th century on the basis of the
verse 'Vacha Pallavayati which itself was a
'Prakhipta (Interpolated) sloka of Gita
Govinda, mentioned the four poets Dhoyi,
Umapati, Dhara, Sarana and Govardhana
Acharya.
To quote Dr. Bhagaban Panda, the names
of these two learned Goswamis were cleverly
associated with the discovery of this so called
verse in Nabadwipa in order to give an air of
antiquity and gain the confidence of the people.
So the story of seeing this inscription on the
entrance of Laxman Sena`s assembly hall at
Nadiya is simply imaginary and as such
unacceptable.
Nowhere in the history of India or
anywhere else in the world the names of court
poets are inscribed on stone or wooden slabs fixed
at the entrance of a durbar (assembly hall).
Pandit Ramakanta Tripathy in the year
1935 edited and published in Calcutta the famous
book of Govardhan Acharya called 'Arya
Saptasati. In the introduction to this book Sri
Tripathy has written that this sloka 'Laxmanasya
Pancharatna was found quoted in the book
Raja Tarangini written by the famous Kashmiri
Poet Kallahana. Kallahana had written Raja
Tarangini in 1148 A.D. Laxmana Sena ruled a
part of Bengal from 1170 to 1205 A.D. How
could Kallahana know either about the five poets
or about Laxmana Sena in 1148 ? This question
has been asked by learned scholar M. Winternitz.
Therefore Pandit Tripathy has told a white lie
when he said that this sloka was quoted in Raja
Tarangini by Kalhahana.
Thus it is established that Pandit
Ramakanta Tripat hy like Harekrishna
Mukhopadhya was creating false evidence in
support of the theory that Jayadeva belonged to
the Court of Laxmana Sena of Bengal.
The Interpolated Stanza of Gitagovinda
In the second stanza of Sri Gitagovinda
Jayadeva invokes the Goddess of Speech,
Saraswati to come to his aid in writing the poem
which will depict the love frolic of Radha and
Krishna. Jayadeva also introduces his wife
Padmavati who danced to the tunes of his
composition in the temple of Lord Jagannath at
Puri. Padmavati incidentally was a celebrated
dancer in her own right as can be seen in the stone
inscriptions in two temples of South India. The
book was written in the Lord Jagannath Temple
of Puri.
The fourth stanza, according to Dr. N.S.R.
Ayengar, lends insight into what kind of readers
Jayadeva was writing for only those whose hearts
are sweetened and enriched remembering Hari
and those who are curious about the art of divine
luxurious enjoyment, should read Jayadeva who
is writing the poem, couched in sweet, tender and
lilting lyrical language.
The third stanza starting with the following
words however, is intriguing.
32
Vacah pallavayatyumpathidharah
Sandarbha Suddhim Giram;
According to Dr. Satyanarayan Rajguru
and Dr. N.S.R. Ayengar it is an obvious
interpolation and, therefore, contentious. It serves
very little purpose in the poem. To quote Dr.
Ayengar 'In its tune, texture, content and diction,
it does not fit into the architectonic of the poem.
It creat es a jarring note which is very
uncharacteristic of Jayadeva. After the invocation
and the proposal in the second stanza, the third
one seems utterly out of context.
As translated by Prof. Barbara Stoler
Miller, the stanza reads as follows -
'Umapathidhara is prodigal with speech,
Saran is renowned for his subtle flowing sounds.
But only Jayadeva divines the pure design of
words. Dhoyi is famed as a kind of poets for his
musical ear. But no one rivals poet Govardhana
for poems of erotic mood and sacred truth.
Both Dr. Rajguru and Dr. Ayengar are of
the opinion that this stanza could never have been
there where it is now for it rends the total texture
of the poem. It is a later interpolation into the poem
by some commentator, perhaps with some ulterior
motive. First of all it is not harmoniously fused
into the body of Jayadeva`s poem and secondly
it does not exhibit the felicity of the diction which
is so characteristic of Jayadeva`s style. The
thought contents are also quite out of context.
In this stanza are mentioned the names of
four poets, Umapatidhara, Sarana, Acharya
Govardhana and Dhoyi. The stanza has five
different things to say about each of the five poets.
Umapatidhara is known for his free flowing
speech. Sarana is known for his subtle sounds.
Dhoyi, the king of poets is known for his music.
Jayadeva is known for his felicity of diction and
Acharya Govardhana remains the unrivalled
master of erotic art.
Two different meanings have been read
into the stanza. One view which was held by Late
Kedarnath Mahapatra was that Jayadeva had only
established his superiority over four other
contemporary poets and not the superiority or
Govardhana Acharya over the rest four. He has
based this interpretation on the book Sarvanga
Sundari Tika by Narayana Das.
The other and more widely acceptable
meaning is that the stanza was written to clearly
establish the superiority of Govardhana Acharya
over the rest of the poets including Jayadeva
himself. It appears highly improbable that
Jayadeva in his own words would denigrate his
own status.
Whichever meaning one accepts, nothing
has been said in it on the association of either
Jayadeva or any one of these poets to have
belonged to the court of Laxmana Sen.
Dr. Satyanarayan Rajguru has developed
and established a hypothesis that this stanza was
composed by Udayana, younger brother of
Govardhana and he perhaps interpolated it into
Gita Govinda in his Bhava Bivatria Tika. This
was perhaps done deliberately so that Arya Sapta
Sati compiled by Govardhana Acharya with
assistance from Balabhadra and Udayana, his two
brothers, got a better introduction and circulation.
Sovoneswara temple in Niali and Megheswar
temple contain two stone inscriptions where
compositions of Udayana appear and have been
preserved till today. The three brothers belonged
to Niali in Cuttack district. Rana Kumbha in his
Rasika Priya Tika has clearly declared this stanza
to be an interpolation.
Arya Saptasati contained only a very
few stanzas of Shringara Rasa. It is highly unlikely
that Govardhana could be the model in this regard
for Jayadeva to emulate. Jayadeva had before
him the great models of Kalidasa, Bhatrihari,
33
Sriharsha and Bhababhuti. Jayadeva could have
paid tributes to these luminaries rather than to
Govardhana Acharya describing him as the best
exponent of Sringara Rasa. Though Acharya
Govardhana was a later contemporary of
Jayadeva, he composed Arya Saptasati much
after the writing of Gita Govinda.
What poetry did Umapatidharah and
Saran write is not known to posterity. Obviously
this Umapathidhara is not the poet Umapati of
13th century of Orissa who was an Army General
and a poet in one of the Ganga king`s court.
Umapatidhara perhaps served in the courts of two
or three Sena kings Vijaya Sena, Vallala Sena and
Laxman Sena. Even if this is true, what he wrote
is not known as is the case with Sarana.
Dhoyi had written the Pavanaduta
Kavya which is an imitation of Meghaduta by
Kalidasa. Dr. Rajguru has placed the period of
composition to the time of Vijaya Sena (1072-
1119) because Dhoyi had urged the wind
messenger to touch Kalinga Nagari on his way
as it was the capital of Kalinga. Emperor
Cholaganga Deva had shifted his capital from
Kalinganagar to Varanasi Kataka on Mahanadi
in 1112 A.D. Dhoyi who wrote before 1112 A.D.
was not alive up to the reign of Laksmana Sena.
Jayadeva was the contemporary of
Vallala Sena, father of Laksmana Sena (1119-
1169). The time of composition of Gita Govinda
is in between 1146 to 1150, as calculated by
Dr. Rajguru. Thus there is no question of all these
poets working as court poets of Laksmana Sena.
Scholars who are bent on proving that
Jayadeva belonged to Bengal depend squarely
on this 3rd stanza. They take it for granted that
Dhoyi, Sarana, Umapatidhara and Govardhana
Acharya were court poets of Laksmana Sena and
jump to the conclusion that Jayadeva also was
there as he mentioned them in the 3rd stanza in
Gita Govinda. First of all the premises is wrong
and conclusion based on that obviously is wrong.
None of these five poets in their works has ever
mentioned the name of Laksmana Sena.
Those scholars who maintain that the
words 'Senakulatilaka Bhupatireko Raja
Pradosacha in sloka number 39 of Arya
Saptasati by Govardhana Acharya refers to
Laksmana Sena are sadly mistaken. Arya
Saptasati is mostly a Sanskrit translation of Satta
Sai` composed by Mahakavi Hala in Prakrit in
3rd century A.D. In the Satta Sai` also the words
Senakulatilaka Bhupati appear. Obviously 17th
descendant of Satavahana dynasty Sri Halo
belonging to 3rd century A.D. could not have
referred to Laksmana Sena of 12th Century
Bengal. He had referred to Maharaja Pravara
Sena II belonging to Vakataka dynasty which
ruled over Deccan. R.G. Bhadarkar in his book
Early History of Deccan` has determined the
period of Hala in 3rd century A.D.
A commentator of Arya Saptasati
belonging to Maharastra has clearly mentioned
that this Senakulatilaka referred to a king named
Pravara Sena as 'Tilaka Bhupati Setu Kara
Prabara Sena Name Raja - Purnamasi
Pradosheka Prabhut. This commentary is
published in 'Choukhamba Sanskrit Series. The
words Senakulatilaka therefore do not stand for
Laxmana Sena at all. There is no indication in the
writings of Govardhana Acharya about any Sena
ruler other than these words. So it is not true that
Govardhana Acharya belonged to the court of
Laksmana Sena. Had that been so, Sridhara Das
who actually belonged to the court of Laksmana
Sena would have quoted from the book by
Govardhana in his own works.
Research by Dr. Satyanarayan Rajguru
has demolished the entire edifice built around this
interpolated 3rd stanza in Gita Govinda to
34
establish Jayadeva as a court poet of Laksmana
Sena and therefore belonging to Bengal. It has
also established that Govardhana Acharya
belonged to Niali in Cuttack district in Orissa and
was never a court poet of Laksmana Sena.
References :
1. Gita Govindam Sacred Profanities : A Study of
Jayadevas Gita Govinda - Dr. NSR Ayengar.
2. Mahakavi Jayadeva O Gita Govinda -
Satyanarayan Rajaguru.
3. Shri Gita Govi nda Mahakavyam Kaviraja
Jayadeva - Dr. Bhagaban Panda.
4. Jayadeva and Gita Govinda in the Tradition of
Orissa - Dr. Pathi, Dr. Panda & Dr. Rath.
5. Alochana - Pandit Nilamani Misra.
Jayadeva`s Gita Govinda - Dr. NSR Ayengar.
7. Mahakavi Jayadeva O Gita Govinda -
Dr. Satyanarayan Rajguru.
8. Shri Gita Govinda Mahakavyam Kaviraja Jayadeva
- Dr. Bhagaban Panda.
Orissa - Dr. Pathi, Dr. Panda and Dr. Rath.
Jayadevas Gita Govinda. Dr. N.S.R. Ayengar.
12. Mahakavi Jayadeva O Gita Govinda - Dr.
Satyanarayan Rajguru.
13. Shri Gita Govinda Mahakavyam Kaviraja
16. Gita Govindam Sacred Profanities : a study of
Jayadevas Gita Govinda. - Dr. NSR Ayengar.
17. Mahakavi Jayadeva O Gita Govinda - Dr.
Satyanarayan Rajguru.
18. Shri Gita Govinda Mahakavyam Kaviraja
Chief Secretary, Orissa
Orissa State Secretariat,
Bhubaneswar, Orissa.
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35
Jayadev : The Poet of Orissa
Dr. K.C. Mishra
Gitagovinda, a unique and heightened lyric,
modelled in the form of a pastoral drama is the
magnum opus of Kavi Jayadev of Orissa. The
work was composed sometime in the 12th century
centering around Lord Krishna and His consort
Radha and was dedicated to Lord Jagadisha or
Lord Jagannath enshrined at Srikshetra, Puri.
The treatment of divine sensuous theme,
the art of versification, the use of simple and
mellifluous diction, grace and embellishment have
made the Kavya an immortal creation of the poet.
While venturing to treat the divine eros, the poet
has spelt out his artistic purpose right in the
beginning and has cautioned the readers not to
treat it as a bawdy stuff.
The poet Jayadev has achieved both
national and international acclaim for his unique
style. The sanskrit text is available in various parts
of India and outside India also. There were
controversies till the mid-fifties of the present
century about the nativity of the poet. A few
scholars with utter disregard to local tradition and
total indifference to historical perspectives have
ascribed Jayadeva`s nativity to different places
of India. Even an attempt was made to define
him as a native of West Bengal and a place in
Birbhum District of West Bengal was identified
as the birth place of Jayadev, which was strongly
refuted by Dr. Sukumar Sen. Subsequent
researches have proved that Jayadev was
undoubtedly a poet of Orissa, who in his youth
went to Sri Kurmapataka for acquiring expertise
in dance and music. He came back to his native
village Kendubilva situated on the bank of the
river Prachi in Puri district. There is still a living
legend as to how he used to worship Madhava
and used to go to Puri to have a darsan of Lord
Jagannath frequently. Sri Kedarnath Mohapatra,
Dr. S.N. Rajguru and others had made intensive
researches on this aspect and advanced irrefutable
arguments, which have not yet been challenged.
The first Commentary on Gitagovinda was
authored by an Oriya scholar. In Orissa, hundreds
of palm leaf manuscripts are still preserved unlike
other States in India. Most of the palm leaf texts
are illustrated by the native writers. Besides the
Gitagovinda texts, more than fifty imitations are
also found in India and quite a good number of
them belong to Orissa. The theme Gitagovinda is
profoundly reflected in patta chitras, wall
paintings and decorative programmes of Vishnu
temples in Orissa. The landscape described in the
text refers to the rural land scape of Orissa. The
Odissi dance which is the classical art form of
Orissa has accepted Gitagovinda as its nucleus.
The visual enactment of Gitagovinda through
Odissi and Gotipua performances has already
caught the attention of the critics of performing
art. Among all the classical art forms in India,
Odissi dance form has been adjudged as the most
effective medium for conveying the message of
Gitagovinda. In the Palla performance of Orissa,
Gitagovinda is very often recited. The elaborate
panegyrics in the opening verses of Gitagovinda
36
refer to the ten incarnations (avataras) of Lord
Vishnu whose graphic sculptural representations
are found on the outer walls of the temple of
Lord Jagannath at Puri. It is pertinent to mention
here that the present Jagannath Temple was built
anew by Chodagangadev, hardly half a century
before the advent of Jayadev who might have been
inspired by the sculptural representations of the
Avataras of Vishnu. So much popular was
Gitagovinda in Orissa that in numerous Jagannath
temples, there was the practice of reciting
Gitagovinda. Some of the temples still bear a
testimony to this tradition. The Inscription in the
Jagannath Temple which dates back to 1499 A.D.
displays a royal proclamation in favour of
recitation and enactment of Gitagovinda before
the Lord as a nocturnal ritual. Even all the temples
of Prachi Valley have still kept up the tradition of
the recital of Gitagovinda.
The Odissi music has complexragas and
talas which are mostly from the matrical
compositions of Jayadev. The prescribed ragas
and talas are hardly found in musical systems of
other States.
The weavers, particularly of Jayadeva`s
native place Kenduli, customarily present
Khanduas (i.e. shawl) to Lord Jagannath in which
some verses of Gitagovinda are artistically woven.
In the tie and die handloom fabrics of Sambalpur,
the tradition of weaving Gitagovinda is still found.
The Orissa State Museum preserves
seven leaves of proboscis, which contain
Gitagovinda. Each leaf contains approximately 13
to 15 lines of the text which are incised in the
sawn elephant trunk by stylus. Bamboo leaves,
depicting the Gitagovinda text is also found in
Orissa. Palm-leaves have been rolled into beads
which contain the text of Gitagovinda. It is
interesting to note that Gitagovinda was so popular
that even Muslim scribes in Orissa have copied
down the text in the palm leaves.
Adjacent villages of Kenduli or Kendu
Bilva are found bearing the names of tenavataras
or incarnations of Lord Vishnu as reflected in
Gitagovinda. This undoubtedly establishes the fact
that the influence of Gitagovinda was enormous
in Orissa.
Some scholars have found out that the
Padmavati image in Kenduli temple was the
presiding deity of Jayadev, because Jayadev
himself mentions that he is Padmavati-charan-
charana Chakravarty which means he is the
king among the devotees to euologise the sacred
feet of Padmavati. Sudamuni Sarala Das of 15th
century almost four hundred years after Jayadev,
in his voluminous Oriya Mahabharat also sought
the blessings of his presiding deity Sarala Chandi.
It seems quite plausible that Jayadev might have
sought the blessings of goddess Padmavati for
divine inspiration to compose his Gitagovinda. The
icon of Padmavati is said to be that of goddess
Chandi. Of course some iconologists have tried
to identify the image as either a Jaina deity or a
Buddhist deity. According to another legend,
Padmavati, the daughter of one Devasharma was
the wife of Jayadev. She was a famous dancer of
South India. Her name is found mentioned in an
inscription at Guntur which is dated to 1150 A.D.
Vaishnav Leelamruta of Madhav
Patnaik of the 16th century gives a detailed
description of Srichaitanya and his followers as
to how they used to undertake a pilgrimage in the
month of makara and Jayadev`s birth place
Kenduli occupied an important place of visit in
their itinerary. The controversy regarding the
nativity of poet Jayadev was confined to the name
of the village Kenduvilva and its variant corrupt
form Kenduli. Kenduli on the prachi valley in Puri
district can certainly be taken as the birth place
of Kavi Jayadev of the Gitagovinda fame.
37
Jayadeva - The Celebrated
Saint Poet of Orissa
Indu Bhusan Kar
Jayadeva, the celebrated saint poet of Orissa,
wrote his magnum opus, Gitagovinda, a lyrical
ballad unparalleled in Sanskrit literature. Written
during 12th century A.D. this piece of art depicts
the immortal love of Radha-Krishna.
These love-songs of Gitagovinda created
sensational impact in the minds of the then people
of eastern India and could change the cultural
ethos in all walks of life.
As narrated by poets and Orientalists of
Eastern India, Jayadeva was born at the village
Kendu Vilva, a Brahmin village situated in
Adaspur Panchayat of Balipatna Block, a place
37 kilometers away from Bhubaneswar, the
Capital City of Orissa.
Some of the eastern Commentators and
scholars have written volumes on the creativity of
Jayadeva which was nurtured and nourished at
the Prachi Valley at the famous village Kendu Vilva
where Jayadeva used to worship his Lord,
Madhab.
Kabiraja Narayan Das wrote 'Sarbanga
Sundari (in the 1307 A.D.), the Sanskrit script
in which he has narrated that Jayadeva the
celebrated saint poet belongs to the village-Kendu
Vilva. One Chandra Dutta of Mithila wrote a book
on Jayadeva Charita named as Bhakta Mala (in
1705 A.D.) in which he has mentioned
Kenduvilva, a Brahmana-Sasan village near
Jagannath Puri to be the birth place of Jayadevaa.
Nava Das a saint poet wrote Bhakti Mela in which
Jayadeva was shown to have been born in the
said village in the district of Puri.
The epigraphic inscription - Prataparudra
Abhilekha also indicates 'Gitagovinda Seva
meaning that Jayadeva`s Gitagovinda was read
and loved by the people of Orissa.
In the 'History of Bengali Literature
written in Bengali language by Prof. Sukumar Sen
the noted critic and writer of Bengal, Prof. Sen
has opined that Jayadeva belongs to Orissa. In
the Oriental Dictionary there is mention of
Jayadeva belonging to Orissa. If any researcher
reads the History of Sanskrit Literature written
by Barada Chari, he would come across the
views that Jayadeva was born in Orissa and there
he composed his famous devotional song
Gitagovinda. Some of the devotees of Bhakti Cult
expressed opinion in the book named Uttar
Bharat Santha Parampara written in Hindi that
Jayadeva of Orissa wrote Gitagovinda.
Scholars like Prof. Barbara Miller and
Prof. Thomas Donaldson have also opined that
Jayadeva belongs to Orissa.
38
If we analyse the pictorial description of
nature as depicted in Gitagovinda we can well
visualise that natural scenes of Gitagovinda
resemble the geographical milieu of Orissa.
The erroneous opinion that Jayadeva
belonged to Bengal was created by one Banamali
Das (1803) in his book Jayadeva Charita and
pointed out that he was the court poet of Laxman
Sen. He just guessed and merely expressed
opinion that Jaydev was born on the bank of Ajay
river in the village Kenduli without giving any
reason. In the Bengali etymological dictionary, the
word Kenduli means festival. There is no such
village named Kenduli and there is no epigraphical
proof to substantiate this logic. This version of
Banamali Das was supported emotionally by Prof.
Suniti Chatterjee, the notable linguist of Bengal
contrary to the opinion of literary historian Prof.
Sukumar Sen. Thus this controversy started and
rolled over. Thus, some section of people of
Bengal fondly believed and propagated that
Jayadeva was born in the village Kenduli on the
Bank of Ajay river in the district Birbhum. This is
simply erroneous and historically and
epigraphically holds no ground.
The regional propaganda in Bengali media
and lately in Television serial 'Saatwaa Rang have
created deep resentment among the art-loving
people of Orissa who are great admirers of
Jayadeva - the illustrious saint poet of Orissa.
Oriya people love Jayadeva as they love their
Lord Jagannath.
The Orissan folk art, drama, dance,
sculpture and the Odissi music are greatly nurtured
and flourished by lyricism and musicality of
Gitagovinda.
There is also greater impact of these
devotional songs of Gitagovinda on life and
literature of Orissa. The lyrical poets of Orissa
imbibed the spirit of devotional songs from the
Gitagovinda.
B-142, BDA Duplex,
Baramunda, Bhubaneswar - 751003.
39
Poet Jayadeva Belongs to Orissa
Tarakanta Mohanty
Sri Jayadevaa is famous amongst the poets of India
for his book entitled Geeta Govinda that contains
devotional songs reflecting the glories of Lord
Krishna. Moreover this book since its inception,
has been attracting classical singers as well as
dancers all over the country for it, splenders, styles
and pictureque description in Sanskrit. The lyrics
of the book have attracted numerous devotees
of India especially the Vaishnavites to such an
extent that they get the verses by heart to chant
while offering prayer to Almighty.
Although poet Jayadeva and his Geeta
Govinda became renowned all over the country,
his birth place remains controversial even up to
the later part of the twentieth century. Poet
Jayadeva was wrongly depicted as a court poet
of Laxman Sen, the king of Bengal of twelfth
century by Ceylonese poet George Keyt in the
forward of his book Song of Love` published by
Hindi Books, New Delhi.
Secondly, a Bengali poet named Banamali
Das of nineteenth century in his book
Jayadevaa`s creation` had written that the poet
Jayadeva belonged to Kenduli village of Birbhumi
(West Bengal). But these facts were contradicted
and reputed by Oriya scholars, indologists and
orientalists. They are of the opinion that poet
Jayadeva was born in the village Kenduli or
Kenduvillva in the bank of river Prachi, a few miles
away from Puri, the renowned Vaishnava seat of
India and famous for Lord Jagannath temple
basing on the following facts.
1. Pandit Keshava Mishra, A Maithili
scholar in his book Alankar Sekhar` has opined
that Jayadeva was greatest of the poets and
scholars who had adorned Utkal Bhupati Sabha.
2. Maithili poet Chandradutta in his book
Bhakti Mala`, written in Sanskrit has opined his
views that Jayadeva was an Utkal Brahmin` and
he was dwelling near Puri.
3. Navojee of Gwalior who had authored
the book Bhaktimala` in Hindi had mentioned
about Jayadeva in1585 as a poet of the then Utkal.
4. Poet Mahipati of Maharastra in his book
titled Bhakti Vijaya` had given hints that poet
Jayadeva belonged to Kenduvilla (Kendubillwa)
near Puri.
5. In Kuladipak`, a book written in
Assamese language, it has been admitted that
Jayadeva was of Utkal.
6. Pandit Mallagi Suryanarayan Shastri, a
scholar of Andhra Pradesh in his book titled
Sanskrit Poets Biography` has mentioned that
the author of Geeta Govinda of eleventh century
belonged to Kendubillwa near Jagannath Kshetra
Utkal.
40
7. Haridas Hirachand of Maharashtra in
1365 admitted in the foreward of a book edited
by him in Marathi language that Jayadeva was
born near Srikshetra in the village of Kendubilwa.
8. Dr Parsuram Chaturvedi, a critic of Hindu
literature in his book Uttar Bharat Ki Santh
Parampara` written in Hindi had mentioned that
poet Jayadeva belonged to Utkal.
9. It has been proved that there is no such
village named Kenduli in the revenue map of
Birbhum (West Bengal)
10. The temple named after Jayadeva in West
Bengal claimed by some Bengali scholars was
proved, sub-sequently, to be built by the queen
of Burdhaman in 1683, where as there are enough
evidences to show that Jayadeva belonged to
twelfth century. The inscription of Lord Jagannath
temple which is about 500 years prior to the
construction of the so called Jayadeva temple by
the queen of Burdhamana, clearly mentioned that
Lord Jagannath listens to Geeta Govinda of Poet
Jayadeva before he retires to sleep.
11. Geeta Govinda Seva in Sri Mandir i.e.
temple of Lord Jagannath is so well known and
common that its author seems to belong to its
nearby river. Moreover Geeta Govinda
Khurdha (a special cloth with verses of Geeta
Gonda woven on its body) a shawl used by Lord
Jagannath during night is produced by weavers
of Nuapat na and Maniabandha (District
Cuttack).
12. According to Madala almanac, poet
Narasingha Dev had introduced singing of Geeta
Gonvinda in the temple of Lord Jagannath.
13. An attempt was made during the reign of
king Purusottama Dev to change the Geeta
Govinda Seva in Lord Jagannath temple. But it
could not get recognition. So Gajapati
Prataparudra Dev had recorded in the inscription
lying at Jaya Vijaya Gate of Jagannath that 'The
Geeta Govinda of Bada Thakura should be sung
and danced at the time of offering to the Lord.
14. Jayadeva was from Orissa say Bengali
scholars (The Daily Statesman, 12th November
2003). The extract from the newspaper
Stat esman dat ed 12t h November 2003
Bhubaneswar edition points out the following
facts.
In a major turning point in the controversy
over the birth place of the 12th century Sanskrit
poet Jayadeva, known all over the world as the
writer of 'Geeta Govinda Kolkata scholars
asserted at a national seminar of Utkal University
of Culture, Bhubaneswar that the poet was born
in Orissa and not in West Bengal.
Mr. Ashok Kumar Chakrabort y,
Superintendent of Gurusaday Museum, Kolkota,
revealed that way back in 1979, he had submitted
a report to the famous Jayadeva Scholar, Dr.
Kapila Vatsayan proving that Kenduvillwa village
in Birbhum in West Bengal could not be the birth
place of the poet. He was followed by historian
Professor S. Sengupta of Kolkat a who
corroborated him and said that it is Kenduli village
on the banks of river Prachi in Puri which is the
birth place of the poet. Both the scholars cited a
number of social-cultural, artitechtural and
philosophical evidences to prove their points.
38, Star City, Patia,
Bhubaneswar.
R
41
History of Odissi Dance and
Sri Geeta Govinda
Dr. Jasobanta Narayan Dhar
The tradition of Odissi dance is almost 2000
years old. It is gleaned from the past records that
the first clear picture of Odissi dance was available
in Manchapuri Gumpha of Udayagiri, which was
carved at the time of King Maha Megha Vahana
Aira Kharvela. Flanked by two queens,
(Simhapatha Rani and Bajira Ghara Rani) King
Kharavela himself was watching a dance recital
where a damsel was performing dance in front of
the court; there were several accompanists
including female instrumentalists. Thus, the Odissi
dance can be traced back to its origin as a secular
dance, which was latter on very much attached
to the temples.
Starting with the rituals of Sri Jagannath
temple of Puri, Odissi dance was regularly
performed in Shaivite, Vaishnavite and Sakta
temples of Orissa. We have already got an
inscription where it was also engraved that a
devadasi Karpursris attachment to a Buddhist
monastery, where she herself, starting with her
grandmother and mother, performed as devadasi.
Thus, it may be inferred that this secular dance
latter named as Odissi dance was first originated
as a court dance and in due course of time
became associated with Jaina monasteries as
patronised and performed by royal presence,
latter on also performed in all religious places
including Buddhist monasteries.
It was said that one older temple existed
at the same place reffered to as neelachala or
Blue mountain, and Chodagangadeva constructed
a temple at that place by renovating or moving
the debris of dialapiated temple. The legends of
Indradyumna and Galamadhava gave ample
testimonies to this probability. However, existence
of Lord Jagannath along with brother Balabhadra
and sister Subhadra was there as we have with
us the famous hymn composed byAdishankar
who visited this place in 9th/10th century and
established his monastery at this place. In his
famous hymn 'Jagannathastaka, he has
associated Lord Jagannath with Srikrishna and
his first stanza was devoted to Srikrishna.
Kadachit Kalindi tata bipina
Sangitakabarau
mudavirih narii badana
kamalaswadmadhupa...
This Asthaka` or eight stanza was
probably very much in use in the rituals of
Srimandira which paved path for use of Sri
Gitagovinda mahari dance in Srimandir of Lord
jagannath.
According to Madala Panji, the temple
chronicle, Gita Gobinda Seva was initiated by king
Kabi Narasingha during his rule, corresponding
42
to 1278 AD as starting year and 1309 A.D. as
the end of his rule. This Kavi Narahisngha of
Ganga dynasty, literally translated, would be poet
king Narsingha, who was actually Narsingha
Deva of Ganga dynasty. Geetagovinda was
actually composed during his predecessor Ganga
king Kamarnava.
King kamarnava ruled Orissa in between
1147 A. D. t o 1156 AD during which
Geetagobinda was composed by Kaviraj
Jayadeva of Kenduli village near Puri and
Bhubaneswar. As Geetagovinda was quick to get
recognition among the learned scholars of coastal
Orissa, it was analysed by another Orissan poet
and scholar kavi Udayana Acharya. The name of
this first supplement is known as 'Vaba
Bibhabini (Analyasis of feelings). At this point
of time, it was known that king Raghava Deva
was ruling over Orissa. His period was limited to
1156 A.D. to 1170 A.D. Therefore, it is inferred
that then ruling Ganga kings and Orissan scholars
were amused by the musical rendering and
scholarly writing of Kaviraj Jayadev mingled with
devotional subject matter, and thought it proper
to offer to the lord Jagannath along with music
and dance rituals.
As Jayadeva has himself revealed as
'Padmabati Charana Chakrovorty and also
mentioned this friend Parasara and others
(Parasavedi Bandhu barge) it can be told,
probably he was the composer and with
Padmavati, his wife, they were a dancing couple.
Most probably Parasara, his friends and other
accompanists were there to perform dance and
music recital before lords in the temples and kings
in the court, it needs further examination and
documentation.
However, we have seen in between 1150
A.D. to 1300 A.D., within 150 years, Sri
Geetagobinda established itself as a devotional
song suitable to be presented through music and
dance in the daily rituals of Lord Sri Jagannath in
Puri. As already told before that different hymns
and stores were rendered before Lord at different
time and Upasana mudras (Poses, postures and
gestures) were used to be performed by Sevayats.
In all probability 'Jagannathastaka, a hymn
composed by Adi Shankar was one of the hymns
those were rendered before Lord Jagannath as
we also found it to be most suitable hymn in Odisi
dance or without odisi dance.
Dance as a ritual is present in all Hindu
temples of India. There are ample evidence to
prove that Jaina monks along with kings were also
patronizing dance as rituals. It was also similar in
case of Buddhist practices. The Devadasi or
Mahari tradition, later known as dancing girl
tradition of Hindu temple, was a pan-Indian
phenomenon, although most of the scholars
attribute this to be a South Indian Style. North-
Indian temples were also patronizing this Devadasi
tradition though due to Muslim invasion the
tradition was discontinued.
Thus Sri Jayadeva`s Geeta Govinda was
rendered by Brahmin Sebayats and female
Devadasis known as 'Bhitara Geyeni and
'Samprada. Some Mahari performed dance
near the inner threshold known as Kalahaat
Dwara`. This was going on without any
interruption for 200 years. Performance of Geeta
govinda and Mahari Dance influenced other
temples to start such tradition. As we see in Orissa
all the temples, shavite, Vaishnavite along with
Shakta temples patronised this tradition which is
documented in temples of Bhubaneswar,
Kakatpur and Jajpur. One Sadhu Pradhana
Jayadeva was also honoured at the Sri Lingaraj
temple of Bhubaneswar.
43
During this period, lot of learned scholars
started writing immitating Sri Geeta govinda,
which were by some research scholars were
branded as 'Counterfeits of Geeta Govinda. We
may use the euphemism as imitations of Geeta
Govinda. All these imitations vied with original one,
but inspite of their masterly qualities failed to
surpass kaviraja Sri Jayadeva`s master piece. The
writers of these imitations included no less than
the Gajapati king who wrote Abhinaba Geeta
govinda also. There from its enviable position of
every day rendening before Lord Jagannath
continues. To put to an end to this controversy
king Prataprudra deva of Suryavamsa issued a
proclamation engraved in Jay Bijoya Dwara that
original Geeta govinda only will be recited during
temple rituals in the rights.
Thus Geeta govinda finds in eternal bond
with the temple recital of music and dance. Till to
day, Geeta govinda enjoys its coveted position
despite various other musical composition and
innovative approaches.
It was a different story that the Odisi
Dance, resurged out of the temples aided by Raya
Ramananda, when he wanted to stage his drama
'Jagannath Ballava out side temple in Puri and
invited the Devadasis to participate in it. This
innovation also attracted objection and only after
lot of royal support he could manage to get a
temple girl called Mukta Devadasi to perform
dance outside Sri Jagannath temple. Some opined
that Raya Ramanda Managet got her from other
temple. However, Sri Geeta Govinda remains to
inspire.
276, Sahid Naghr, A.S.D.,
Bhubaneswar
44
Other Works of Shri Jayadeva
Arun Kumar Upadhyay
I had a long standing assumption that Gitagovinda
was not the only work of Shri Jayadeva, glory of
medieval Orissa. This is a great work in itself, but
there are several works of its kind in Orissa itself.
The style of Jayadeva was adopted by famous
Maithili poet Krishna Dutta, who had written
Chandika-Charita-Chandrika recent ly
published by Rashtriya Sanskrit Sansthan,
Allahabad in its journal of 2005. In this book, the
poet has mentioned in verse 1/12 that he is
following the great poet Jayadeva.
Dashavatara Stotra
The first t hree verses of his
Dashavatara-stotra indicate knowledge of
vedas and cosmology. First verse is about fish-
incarnation of Vishnu, which is permanent in space
as well as a human incarnation at the time of glacial
floods in 9533 BC as per Vishnu-Dharmottara
Purana Chap.68, when Prabhava Guru-year
started in both systems-Surya-siddhanta in north
India and Paitamaha-siddhanta in south India.
Next two verses can have only cosmological
meaning. Kurma-incarnation is described Ati-
Vipulatara Prithivi. Vipula means big; its
comparative and superlative forms are vipulatara
and vipulatama. Crossing the limit of vipulatama
can be called ati-vipulatara. Use of both adjectives
ati and tara seems unusual. But, it is understood
when we consider three earths described in
vedas. Vipula (big) prithivi (earth) is our planet.
Vipulatara is the solar system described in
Bhagavata purana, skandha 5, as disc-shaped
earth of 100 crore yojanas (about 800 crore
kilometers), out of which the inner part of 50 crore
yojanas is loka (lighted) and outer part is aloka
(dark) part. Vipulatama prithivi is the galaxy which
is largest and is the last limit at which sun can be
seen as a point. These three earths are difined as
the zones lighted by sun and moon, the zone
lighted by sun is earth of solar system and the
largest earth-galaxy is the limit of reach of sun-
rays.
Ravi Chandramasauryawanman khairawa-
bhastyate / sa samudra-suri - chhaila pruthivi
tabati smruta / (Vishnu Purana)
The next verse tells that the ratio of three
earths with their sky is the same as that of man
and earth (planet).
Yabatpramanana prutivi vistara parimandalat
/ Navastawatpramanam wai byasa
mandalatodwija // Manena tasya kurmasya
kathayami prayatnatoh Sakoh satasahsrani
yojonati vaputi sthitam /
(Narapatijayacharya, Kurma Chakra)
1000 parts of earth diameter is usually
defined as yojana as earth is a 1000 petal lotus is
45
space (Padma-purana). It is 1 crore (10
7
) times
bigger than earth. Sky of earth is solar system
which is again 10
7
times bigger. For solar system
as earth, its sky-the galaxy is again 10
7
times
bigger. Thus the galaxy is 1000 x 10
7
x 10
7
=
10
17
yojanas. Size of Kurma is stated to be 10
18
yojanas, i.e. 10 times bigger than galaxy.
On this Kurma back, galaxy of 1/10th
size is rotating which is cause of creation, so this
has been called Kurma, i.e. which does work. In
modern astronomy, this is called nutrino-corona
of galaxy. In Brahma-vaivartta Purana,
Prakriti-khanda, chap.3, this is called Golaoka
in which Virata-balaka (great child) galaxy is
created. Now we can understand the meaning of
Jayadeva`s -
Kshitirati vipulature tava tisthati prusthe /
Dharanidharanakina chakra garisthe / Kesava
dhrta kachhapa rupa, Jaya Jagadisha hare //
Similarly, earth is a small dot on the
mountain like the tooth of Varaha. Thus, this is
not a small animal like a boar. Its tooth itself must
be about 100 times bigger than earth and the
Varaha must be bigger at least 1000 times. In
Vayu-purana (6/12), it is stated that varaha is
100 yojana high from sun and its body is 10 yojana
wide. Then earth must be within 100 + 10=110
yojana from sun. It is about 108 or 109 sun-
diameters away from sun depending on its position
in elliptical orbit. Thus, yojana here means diameter
of sun. Earth is then of 1/108 yojana size, i.e.
varaha is 1100 times bigger. This is stated by
Jayadeva as -
Vasati dasana shikhare dharani taba lagana /
Shashini kalank kaleva nimagna / Keshava
dhrta shukara rupa, Jaya Jagadisha hare //
Bhavishya - Purana - Pratisarga parva, part
4, chapter 9 of Bhavishya purana tells about
Dhanvantari, Sushruta and Jayadeva. Its
previous chapter tells about Madhva, Shridhara
etc and next chapter about Krishna Chaitanya.
These are not in any chronological order and
appears to be later addition to Bhavishya purana
during British rule when Bengal was the centre of
British India. Then Bengal included Orissa and
Bihar, also ruled from Calcutta Presidency. So
the Purana tells that Jayadeva was born in
Kendubilva village of Banga. However, the story
describes looting of Jayadeva in Dharmashala,
which is now in Jajpur district of Orissa and his
marriage in Jagannath-puri which was near to his
village. Dharmashala was centre of Dacoits who
looted pilgrims coming to Puri. King Dharmapala
took action against them and named it
Dharmashala (place of piousness). This Purana
mentions Jayadeva mainly as Nirukta-kara. He
took sanyasa after deep injuries by dacoits, who
had made up a false story that Jayadeva was also
committing dacoity in Bengal area. Thus, his place
in Bengal is only a false plea of dacoits, nothing
else. He studied from parents for 12 years after
attaining age of 5, i.e. upto 17 years age. Then he
performed their last rites and married Padmavati
at the age of 23 years. Twice his nirukta has been
mentioned -
Bil wa grame Banga dese sambhavami
niruktakrut/ Jayadeva iti khyatah kavinam hi
shiromanih // .. .. gehe kandukino jato
brahmanasya mahitale / Nirukta vaidikam
changam krtavansa samadhina/ Varnagamo
gavendradau sinhe varna viparyayah/
Shodashadau vikarascha varnanasah
prusodareh// varnavikaranasavyam
dhatoratisayane yah/ Yogastadyuchyate
pragyenrmyura bhramara disu// Ebam pancha
vidhyanyevaniruktani vai/ Sudraischa
nagavamsiyervrashitani kalau yuge// Jatwa
prakrutabhasayah katrunmudhankalipriyan/
46
Shundhuhi paninih shastram chakara
surahetave//
Jyotisha - His Dashavatara stotra itself indicates
his knowledge of astronomy. Moreover nirukta
needs complete understanding of Vedas which is
impossible without astronomy. Another reason is
that Shatananda had written Bhasvati in 1099
A.D. which is a Karana text of astronomy. It
needs a basic theory of Algebra whose book must
have been written by him or existing earlier than
Jayadeva. His astronomy book is not available,
but has been quoted in a book Sundari which is
a commentary on Laghu-Bhaskariya of
Bhaskara-I (629 A.D.). Manuscript of this work
was seen in Maharaja Palace Library, Trivandrum.
His method of Chakravala was described by
Prof. Kripa Shankar Shukla in his article-Acharya
Jayadeva, the Mathematician (Ganita, Vol.5,
No.1, June, 1954). This Jayadeva has been stated
of 11th century. His original book or quotation in
Kerala text might have given his exact date of
birth. Jayadeva methods are described at pages
97, and at 107-109 of the book-Bharatiya
Ganitam-published by Rashtriya Sanskrit
Vidyapeetha, Tirupati - 517507 in December,
2005. Author is Prof. Venkatesha Murthy.
B-9, Cantonment Road,
Cuttack-753001.
47
Jagannath Culture as Reflected in
Gita Govinda
Dr. Bhagyalipi Malla
Sri Jayadeva was the famous composer of Shree
Gita Govinda. His lucid composition of Gita
Govinda became world famous during his life time
especially because of its introduction in the rituals
of Jagannath Culture. Its romantic as well as
religious fervour ignited the devotional thought of
priests, peasants and Royal personalities alike.
The construction of Jagannath temple at Puri by
Choda Ganga Deva in 12th Century A.D. ushered
in a new era in the religious history of Orissa. With
the decree of the Ganga emperors Gita Govinda
was sung everyday in the temple as a result of
which it became popular in every household in
Orissa and India as well.
Gita Govinda describes the love sports
of Radha and Krishna in a beautiful manner. The
charming and simple language of the text attracted
one and all from every quarter. The depiction of
Avatar conception in the composition of Jayadeva
deserves special mention. Similarly, the description
of Radha Madhav Cult which was in vogue in
Prachi region is very interesting in the poetic
articulation of Jayadeva. For the first time we find
reference to Radha as a cult icon in his poetic
creation.
Vaishnavism received new impetus
because of the impact of Jayadeva`s Gita Govinda
from 12th Century A.D. Many new ideas and
ideation entered into the fold of Jagannath
Consciousness after the emergence of great poet
Jayadeva. His work also popularized Jagannath
worship in every nook and corner of Orissa. It is
glorious that the great poet Jayadeva was born in
the sacred soil of Prachi Valley region.
The popular Jagannath Cult is a
mysterious religious system. Scholars from
different parts of the country and abroad have
attempted to solve the mystery of origin and
evolution of Jagannath cult and have stumbled
confusedly at the platform of religious eclecticism
of Jagannatha Triad. Jagannath allows all and
admits all, yet He is aloof from all. It is also said
that He is all of it and none of it. He is like a
mirror where all can see their reflection but cannot
touch. He adorned his ratnasimhasan admitting
flexibility, adaptability, integrity and magnanimity
of all dynamics of Hinduism. For this, the Jains,
Buddhas, Vaisnavas, Saivas, Saktas, the tribal
aboriginals, prelates and potentates surrender at
His feet seeking eternal salvation. The earlist
reference to Jagannath-Daru worship is found in
the Vedic literature. In the Mahabharata there is
mention about a Vedi near the eastern Kalingan
sea. Scholars have identified this spot with the
present day Jagannath temple complex of Puri.
Indrabhuti the king of Sambala in his famous work
Gyanasiddhi speaks to Jagannath as Buddha in
the 8th century A.D.
48
Sankaracharya in course of his religious
conquest of India in 8th/9th century A.D. visited
Puri and worshipped Jagannath. The
Anargharaghava Natakam of Murari Misra (9th
century A.D.) refers to Purusottama. There is
mention about a devayatana` that existed at Puri
in Prabodha Chandra-dayo Natakam of Krusna
Misra (11th century A.D). The Saradadevi temple
inscriptions of Mahihar in Satna district of Madhya
Pradesh describes Purusottama as the Lord of
Utkala in 10th century A.D. In the Baramdeo
temple epigraph of 1088 A.D. and Nagpur
inscription of 12th century A.D., there is reference
to Purusottama Kshetra that existed in Orissa. In
ancient Hindi literature like Bisaldev Raso (12th
century A.D.), Prithvirayo Roso of the same
century Jagannath is described as the deity of
Orissa.
Thus there is ample evidence of Jagannath
at Puri since remote antiquity. The glory and
greatness of Jagannath and Puridham find mention
in the Puranas like Matsya, Brahma, Narada,
Padma, Kapilasanhita, Niladrimahodaya and the
Utkal Kanda of the Skanda Purana. In all such
Puranas, He has been described as the famous
deity of Odra or Utkala. In the tantric works like
Kalika Purana, Rudrayamala tant ra,
Brahmayamala tantra and Tantrayamala, etc. of
10th century A.D. Jagannath is mentioned
conspicuously.
The foreign scholars like Stevens, Wilson
and Fergusson etc have traced his origin in
Buddhism. Rajendralal Mitra has opined that
during pre-Christian century only Buddhism was
in vogue in Orissa. Chinese traveller like Yuan
Chwang has narrated that Mahayana Buddhism
was the religion of Utkala in 7th century A.D..
This school of scholars believe that original
Jagannath temple complex was a Buddhist
establishment. Very recently a Chunar sand stone
pillar has been traced out below the fossilized
Garuda pillar of Natamandira while repairing it
by ASI. This further strengthened the Buddhist
origin of Jagannath. From the funeral pyre of
Buddha at Kasinagar a tooth relic was known to
have been brought by Therakhema to Puri of
Orissa. For this for centuries Puri was called
Dantapuri. It is believed that it is still there as
Brahmadhata, in the wooden statue of Jagannath
which is mysteriously shifted to the new idols at
the time of Navakalevara. Alexandar Cunningham
has stated that 'the three shapeless figures of
Jagananth and His brother and sister are simple
copies of the symbolical figures of the Buddhist
triad i.e. Buddha, Dharma and Sangha of which
the 2nd is always represented as a female. The
Buddhist origin of the Jagannath figure is proved
beyond all doubt by their adoption as the
representative of the Brahmanical avatar of
Buddha in the annual almanacs of Mathura and
Benaras. Dr. H. K. Mahatab has also referred
to a similar stone of Asokan polis with the symbol
of Buddha, Sangha and Dhama discovered and
sent to Calcutta University sometime back for
preservation in Asutosh Museum. According to
him 'the Savaras of Orissa were converted to
Buddhism during the time of Asoka and
worshipped the Triratna symbol in a Buddhist
stupa at Puri. Later on in the 7th/8th century A.D.,
when Buddha was considered as an avatar of
Vishnu, Jagannath was also considered to be an
avatara of Vishnu. Gradually Buddhism lost itself
in Vaisnavism.
Another school of scholar like Nilakantha
Das believed in Jaina association of Jagannath cult,
so far its origin is concerend. He has tried to
identify Nilamadhava with Kalinga Jina referred
to in the Hathigumpha inscription of Kharavela
which was known to have been taken by Nanda
ruler as war trophy in 4th century B.C. The said
Jaina symbol came to be known as Nila i.e. void
or black. The image of Jagannath, that is why
represents black colour or void. Subhadra is being
identified with the Dharmachakra of Jainas and
Kavalya so closely connected with Jagannath, has
49
in fact Jaina origin. Kedar Mahapatra and
Binayak Misra also subscribe to this school of
thought. For this they have attempted to identify
the legendary Indradyumna with emperor
Kharavela who brought back the Kalinga Jina in
1st century B. C. which was taken away by
Mahapadma Nanda in 4th century B.C. to
Pataliputra.
Jagannath is also adorned as Darudevata
of Vedic and Bhagavatism. According to
P.Mukherjee in about 5th century A.D. during the
Gupta rule, Sankarsana and Vasudeva came to
be worshipped as Balarama and Jagannath. The
Brihat Samhita of Varahmihira of 6th century A.D.
associated Ekanamsa with Subhadra. In
Harivansa, She is described as the daughter of
Nandaraja and also as the common sister of
Jagannath and Balabhadra. Under the influence
of the Bhagavatism, She came to be worshipped
as Subhadra as their common Shakti being the
sister, a phenomenon unknown to Indian tradition.
Thus the cult of Shakti entered into the fold of
Jagannath worship in a zigzag manner baffling the
beholders and philosophers alike.
Another strange aspect of the Cult is the
Sabar connection in the origin and worship of
Jagannath tradition. Jagannath Das in the
Musaliparva of Mahabharata has written in the
15th century A.D. and said that after the
Mahabharata war Pandavas left for heaven
through Himalaya. The Yadava Vansa of Krisna
got destroyed by Krishna Himself through the
deluge of intoxication and homicide of the clan.
The Krisna avatara lila of Dvapara Yuga
was thus to be concluded. Lord Krisna, to leave
the mundane world was swinging in the forest. A
Savara, thinking Him to be a deer shoot an arrow
at Krisna. When the Savara came to know of
this he cried and prayed God to excuse him.
Consoling him the Lord said that this incident was
preordained to put an end to his avatar of
Dvaparajuga. He further directed him to burn His
body and to immerse the ashes in the ocean. The
Savara could not completely burn His body. As
per heavenly direction, he threw it in the ocean. It
floated and in coarse of time came to Mahodadhi
i.e. Puri sea beach. The then king of Puri
Indradyumna dreamt of this and as per the divine
direction brought it to the palace to make the
wooden statues of Balabhadra, Subhadra and
Jagannath.
A story goes that no carpenter could
handle the wooden log. Ultimately an old
carpenter came and assured the king that he can
make the statues under one condition that he
would not be disturbed for fourteen days and he
would do his job inside the temple by locking the
door. The king agreed to the terms and conditions.
But hearing no sound of the carpenter from
outside, the Queen insisted the king to break open
the door before the completion of 14 days and to
his surprise the king found the deities half made
and the old carpenter vanished. He prayed God
who advised him to worship Him in that form which
we find today. Many such other stories in different
versions are found about the Savara connection
of the Jagannath culture. The Daitapatis now claim
their origin to this Sabar tribe.
Thus the synthetic and syncretic cult of
Jagannath is the embodiment of several cults of
diverse religious philosophies that existed in India
in different periods of her long cultural history. In
the historic process of assimilation, it has
embraced strange contradictions and varied
traditions of various religious orders and has
emerged as a universal heritage of world
eminence.
Curator,
Manuscript Section,
Orissa State Museum,
Bhubaneswar.
50
Gitagovinda and Oriya Art Tradition
Nimai Charan Mohanty
Orissa is very rich in artistic and poetic traditions.
Gitagovinda Kavya of Jayadeva is a superb
literary creation. It was known to have been
composed in the 12th century A.D. The songs
were originally meant for recitation in the Jagannath
Temple of Puri. There are seventy two slokas. It
has been divided into 24 songs in 12 chapters.
Since its creation, the work has become very
popular all over India.
The controversy about the age and birth
place of Jayadeva has been extensively dealt with
by many prominet scholars all over India. Most
of them are of the opinion that Jayadeva was born
in Orissa in the 12th century A.D. The village
Kenduli on the Prachi valley in Khurda district
has been identified as the birth place of Jayadeva.
One set of Ganga copper plate inscription has
been found in this village. A small inscription 'Jaya
Jagadisa Hare on the lintel of devi temple
ascribable to 12th century A.D. further strengthens
the historicity of Kenduli and its association with
poet Jayadeva. A large number of archaeological
relics found in and around this village also speak
of the antiquity of the site. Various religions such
as Vaisnavism, Saivism, Saktism, Jainism,
Budhism, Dasavatara and Gopinath cults etc. had
great sway in the Prachi valley prior to 12th
century A.D. The cultural revolution of the valley
had great influence on Jayadeva.
For the popularity of Gitagovinda, we find
many commentaries and imitations since the days
of its composition. There is reference to
Kenduvilva in ancient Hindi, Marathi, Bengali,
Oriya and Maithili literature. In the Jagannath
Temple of Puri Gitagovinda-gana` became a
ritualistic tradition. The dasavatara prayer of this
work had great impact in religious, social and
artistic traditions of Orissa.
The sculptural represent ation of
Dasavatara themes are found in the early temples
of western Orissa and Chhatisgarh region.
Mahasivagupta Balarjuna (750-807 AD) had built
the famous Laxmanswar temple at Sirpur. On the
lintel of this temple dasavatarafigures are carved.
At Saintala, we find representation of dasavatara
in two Vishnu images.
At Gandharadi in Boudh district, Bhanja
King Satrubhanja had built Siddheswara and
Nilamadhava temples in one platform. We find
some dasavatara figures in the Nila Madhav
temple. Interestingly even in the Vaital temple of
Bhubaneswar, fewdasavatara figures have been
carved out. Prachi valley is teeming with ancient
Saiva and Madhava temples. In most of the later
51
temples we find dasavatara panel. The cult of
dasavatara and its sculptural representations in
Orissa prior to Jayadeva had significantly
influenced the concept of avatara depicted in
Gitagovinda.
This work has produced new musical
compositions in Kerala and Tamilnadu. From
Gujrat to Assam and from Kerala to Kasmir, it
has inspired a series of Commentaries. Painters
have taken great inspiration from this work. We
find specimen of paintings in Assam, Rajasthan,
Himachal Pradesh and Gujrat. Its theatrical diction
was also known to have been spread into Nepal
and Manipur.
The palm leaf painting tradition of Orissa
is replete with Gitagovinda theme. A series of
such paintings are now available in Orissa State
Museum. The linear rhythmic compositions of
Radha and Krishna both in mono-chrome and
bichrome are some of the marvellous specimens.
From the dawn of civilisation Orissa is
famous for her paintings. The prehistoric paintings,
engravings and line drawings found at Vikram
Khol and Ulapgarh in Jharsuguda dist.
Manikmunda and Usakothi is Sundergarh District,
Gudahandi and Jogimath in Kalahandi district
together with the Sitabinji historical paintings of
Keonjhar district are the mines of our heritage.
The accumulated art tradition reached its pinnacle
in palmleaf paintings of Orissa. Flora, fauna and
human figures have been flamboyantly executed
with precision and sharpness. Figures of vivacious
damsels with full bosoms and tender waists, in
fact, beggar description.
Palm leaf manuscripts are generally called
pothis. The manuscript that are illustrated are
called chitrapothis. Such later chitrapothis
contain text as well as paintings. A series of
manuscripts are known to have been painted. But
by far, the Gitagovinda pothis excell all other texts
in lively illumination and its romantic themes have
been copiously consigned to all media of Orissan
Art idiom.
Curator (Art and Craft),
Bhubaneswar.
R
52
Miracles in the Life of Sri Jayadeva
Somanath Jena
Jagatguru Shri Sankarcharya has narrated Lord
Jagannath of Puri Dham as 'Kalinditata Bipina
Sangitkabaro. Jayadev is the first poet who
mentioned Lord Jagannath as Radha and Krishna
who are mingled together. He is the poet who
eulogized Lord Jagannath, the God who is the
same who undertook Dasabatar. Dasabatar is a
part of immortal Sri Gitagobinda. The miraculous
incidents relating to life history of Sri Jayadev and
his wife Padmabati who dedicated themselves to
the heart of Lord Jagannath of Puri Dham, go to
prove that there was no difference between Lord
Sri Jagannath, Sri Jayadeva and Padmabati.
Jayadeva was one of the best writers on
Sanskrit musical verses and known as such
throughout India and abroad by writing of Sri
Gitagobinda. The musical charm in composition
remain unique to its type in Sanskrit literature and
thus has perennial appeal to the audience. His
poetic genius was highly appreciated, his
Gitagovinda was translated into English by Sir
William Jones and then to German, French and
other European languages, which made the
acceptance of Gitagovinda as one of the master-
pieces even in world literature.
Sri Jayadeva was famous in Orissa,
especially at Puri Dham for his composition of
Gitagovinda. His father`s name was Bhojadeva
and his mother`s name was Radha Devi. His
wife`s name was Padmabati. His birth place was
a known village, namely Kendubilwa, a few miles
away from Puri. He was the sole devotee to Lord
Sri Krishna or Lord Jagannath of Puri Dham,
Orissa.
Devasharma, a Brahmin devotee of Lord
Jagannath, was also living in Kendubilwa. He was
childless who prayed Lord to grant one child so
that he will offer the same to Lord. A daughter
was born. He offered her to Lord. But Lord told
him in dream and to priests of Lord Jagannath to
offer her to Jayadeva who was a saint poet,
engaged in meditation and living a sacred life. She
was Padmabati by name. Accordingly, the
marriage was performed through the intervention
of Lord Jagannath. Both wife and husband were
devoted to Lord and had a religious life.
He composed Gitagovinda and sang the
same with his wife before Lord Jagannath and
danced while singing losing worldly
consciousness. It deals with divine play of Sri
Krishna with Radha and their conversation while
playing both in spring being affected by cupid.
While composing the Gitagovinda one line of
conversation of Sri Krishna to Radha could not
be filled up with appropriate words. He went for
bath keeping his pen and book. While away for
53
bath, Lord came in his form and wrote the
incomplete verse 'Smar-garala-Khandanam,
mama sirasi mandanam dehi pada-pallava
mudaram (10th canto of Gitagovinda) 'Sri
Krishna was approaching Radha to be gracious
to remove the poison of separation by placing
her feet liberally like a lotus on his head. Not
only Lord filled up the appropriate words, but
took meal in guise of Jayadeva, being served by
Padmabati.
Being irritated by envy, listening to the
popularity of Gitagovinda of Jayadev, Maharaja
(Gajapati) king composed one poem himself with
the same theme and music and asked the singers
to sing it in the temple and asked not to allow
Jayadev`s Gitagovinda to be sung in temple. But
still through grace of Lord, Jayadev sung
Gitagovinda while dancing in devotion in that
temple. When asked by Maharaja, why he did
not sing the song composed by the king, he replied
that Lord considered his Gitagobinda as superior.
To test this, both the composition of Maharaja
and Jayadev were kept in front of Lord, the door
of the temple was closed and all vacated the
temple. A few minutes later, when door was
opened, it was seen that Gitagovinda was placed
above Maharaja`s composition. The test of
superiority of Gitagovinda was cleared up by Lord
Jagannath himself.
Another miracle can be mentioned here.
An old lady, a seller of Bruntap-fruit (sweet fruit
grown in thorny trees) went to jungle filled with
thorny Bruntap trees, and while collecting fruits,
sang devotional Gitagovinda in melodious voice
and whole-hearted devotion. It was a moonlit
autumn night. Lord Sri Krishna was enchanted,
left his seat and followed her. His dresses were
torn into pieces coming in contact with thorns.
The priests in the morning could find night dresses
of the Lord torn though temple of Lord Jagannath
was closed. In dream, the priests and Maharaja
could know the real incident of Lord Jagannath
in form of Sri Krishna following the old lady in
the thorny jungle, lured by the devotional singing
of Gitagovinda.
While Padmavati was in the palace of the
Gajapati king, the queen out of joke told that
Jayadev breathed his last while in meditation in
the temple of Lord Jagannath. Hearing this news
Padmabati also breathed her last, out of sorrow.
King told Jayadev about the mischief of his queen.
Jayadeva never minded. He prayed to Lord and
sang the appropriate line from Gita Govinda
'Priye, Charusile, munch mayee mana
manidanam with help of musical instruments. This
forming the part of the composition in the 10th
canto of his lovely epic 'Gitagovinda refers to
the story that when Lord was cupid-affected and
felt the absence of Goddess, Lord was singing
song to get the love of his consort lying affected
by the separation of the king. Lord has wished to
get a sight of her eyes in order to get the nectar
like drips from the lips of the man`s face
besmeared with glistening light from white teeth.
Hence, Lord was approaching the goddess
saying O` my lovely darling of very gentle
behaviour, give up your fear uselessly arising in
your heart. Now my mind is burnt by a sensation
of cupid, give me a drink of honey dripping from
your lotus like face and let my eyes become very
much pleased at your sight. Padmabati got senses
and got up and sang the song with Jayadev joining
herself in chorus.
Sri Jayadev spent his last life at Banaras
and left his mortal body.
There is another miracle witnessed at
Banaras. Once, Jayadev felt weak due to his old
age on the way going to Ganga after performing
the call of nature and took rest on the way. The
54
king requested him to avail a conveyance to go
to Ganga at this old age, but he declined and
pleaded that according to his ability he will
proceed to Ganga and take bath. At night,
Jayadev dreamed Ganga in the form of a lady
who approached him saying that henceforth from
the morning for all the time, I will reside in the
well, used by Jayadev. The fact became true. Next
day, Jayadev narrated the story and with
Padmavati, the king and the queen went to the
well to take bath. Jayadev worshipped Ganga.
He while reciting the Mantras before taking bath
found that the water of the well swelled up high,
the colour of the water changed and became as
transparent as white as milk. People were
surprised at this and Jayadev`s eyes became filled
with tears of joy, worshipped the Ganga and took
his bath. This is the devotion of the great Jayadev.
At Kashi (Banaras) when he was residing
and moving alongwith the king of Kasi, at
Manikarnikar Ghat on the bank of sacred Ganga,
a lady was found following her dead husband`s
body. Jayadev remarked that this is not sign of a
chaste lady, because a chaste lady can not bear
the life for a moment on the death of her husband.
The king did not relish the words and made query
whose wife is of this nature. Jayadev claimed that
his wife Padmabati is like this. To test the veracity,
the king sent a detective to observe the real fact.
That messanger detective confided to Padmabati
that her husband, the poet Jayadev was dead due
to capsizing of the boat in the Ganga when he
was making boat journey with king and got
drowned in heavy current of the Ganga. On
hearing the death news of her beloved husband
Padmabati left her life out of severe sorrow due
to separation. The queen of Kashiraj felt much.
Jayadev, when knew the fact became
unconscious. Jayadev, after gaining consciousness
addressed the goddess of learning to be messenger
to establish eternal love between them. Being
appeased, goddess Saraswati went to Radha and
Sri Krishna and told that both Sri Krishna and
Radha are cupid affected. They require
conjugation. She eulogized that chanting sacred
name of Krishna can repeated to the ward off
evil and to ensure sacred life. At this, Sri Krishna
advised Saraswati to repeat the lines of
Gitagovinda 'Priye, Charusile before Sri Radha
as a messenger. Saraswati repeated this verse
before Padmabati, who is recognised as Radha
in another form incarnated. Then, Padmabati
regained consciousness, got life, became reunited
with Jayadev, the human incarnation of Lord
Krishna (Jagannath) and both of them sang
Gitagovinda while dancing in ecstacy before Lord
and vanished from the world.
Thus, the miracle ridden life of the divine
couple disappeared from human eyes at Kashi
by having permanent union.
Walliganj, Ward No.2,
Baripada Town,
Bhanjpur -757002, Mayurbhanj.
R
55
Jayadeva - The Immortal Poet of
Gita Govinda
Dr. Dinabandhu Moharana
Jayadeva belonged to the 12th century. He was
one of the greatest devotional poets in the whole
range of religious literature. His monumental poem
Gita Govinda, written in Sanskrit is a song
celebrating the glory of Lord Srikrishna and his
beloved Radha. The divine love celebrated in the
poem in human terms is actually the presentation
of the creator`s love of the created - a realisation
of the fountain of divine love.
The songs of Gita Govinda have an
abiding charm. The experience and feeling
expressed in the poem deeply move the reader
by celebrating the divine relationship between
Madhav and Radha. In reality, Radha`s complete
surrender to Madhav is the individual soul`s
surrender to the Lord for the salvation of man.
The art of poetry embedded in Gita Govinda is a
fine fusion of religious experience, love, music and
the metaphors of Rasa literature that transmute
the reader to a plane of divine reality.
The merit of Jaydev`s poem lies in its
spiritual power. It was popular throughout Orissa
and naturally it was admired widely throughout
India. Even to-day, this great Sanskrit poem is
dedicated in temples as the highest celebration of
Lord`s glory and a prayer of great beauty and
power. Everyday Gita Govinda is recited before
Lord Jagannath in the temple at Puri. Moreover,
the felicity of lines on Dasavatar, the ten
incarnations of the Lord are recited in temples
and religious places for their spiritual import. The
poem`s incantation, diction and the feeling of
Bhakti are rich resources for the elevation of the
body and soul - thus expressing the communion
with God.
Jaydev was born in the village Kendubilya
in Puri district, on the bank of the Prachi river. He
was born in a poor Brahmin family but that did
not deter him. Blessed by a divine power, he
started writing Gita Govinda. The legends and
traditions suggest that the poet could not complete
an important part of the poem, but a divine power
filled in the lines while he had gone to take his
bath in the river. Thus miraculous divine powers
are attributed to the poem`s powerful rendering
in chaste sanskrit. Madala Panji, the ancient
historical record of the temple of Lord Jagannath
first mentions Gita Govindas recital in the
temple. That was the first mention of the poem`s
history.
Maithili poet Pandit Keshav Mishra
assigns an outstanding position to Jaydev, one of
the great Sanskrit poet`s of Orissa. Dr. Sukumar
Sen has lavishly praised Jaydev`s poetic virtues
while establishing Jaydev`s roots in Orissa. One
has to hear and recite the poem to enjoy the
beauty and felicity of the poem. Indeed, the recital
of Gita Govinda in the presentation of Odissi
dances convey the classical spirit of music, dance,
legend and myth embedded in the poem. Jaydev
often recited the poem and danced to its tune and
his wife Padmavti danced with him in divine
communion and reverence. Since then, the
popularity of the poem has gone up. Today, its
power of transporting the reader to the plane of
spiritual experience is immortalized in the poem`s
celebration of Radhamadhav`s love-play that
transports us to a realisation of God`s glory and
benediction. Thus The Gita Govinda has
enriched the social, religious and moral traditions
of Indian life.
Orissa Ayurveda Sebasadan,
111-Municipal Market,
OMP Square, Cuttack.
56
Jayadeva - A Devotee and a Poet
Dina Krishna Joshi
Every year on Akshay Trutiya, Oriyas celebrate
the birthday of the great Sanskrit poet Jayadeva,
the man who wrote Geetagovinda` in the twelfth
century. Oriyas assert that the village Kenduvilva
in Puri is the birthplace of the poet. On Akshay
Trutiya day, which falls on the poet`s birth day, a
two-day procession is taken from Bhubaneswar
to Kenduvilva, the poet`s birthplace. Sri
Jayadeva, the celebrated Poet of Gita-Govinda,
was born in the village Kenduvilva Sasan or
Kenduli Sasan in Balipatna P.S. in Khurda district,
a part of the earlier Puri district. He was most
likely born in the first part of 12th Century A.D.
during the reign of Cholaganga Deva. Kenduli
Sasan close to the river Prachi, which was then
inhabited mostly by Brahmins. The presiding Deity
in the village is Ambika and there is a Nrsingha
temple as well. Chandra Dutta, a Maithili poet,
wrote Bhaktimala`(14th century) where he
mentioned Jayadeva`s birthplace as
'Kenduvilva Sasana: Sasana`, a Brahmin
settlement, is an important part of Orissa`s history
and the village, apart from having a number of
kendu` and vilva` trees, is located in an area
where Madhaba-worship is prevalent. Yet
another book, Vaishnava Lillamrta` by
Madhaba Patnaik written in 1535, clearly
mentions that the poet was born in Orissa near
Puri. He spent most of his life at Puri. Padmavati
was the temple dancer at the Puri Jagannath
temple, and Jayadeva married her and settled
down there to serve the Lord and Padmavati
simultaneously. This tradition of Devadasi Dance
is being continued at Lord Jagannath Temple to
this day.
The Gitagovinda kavya is a lyrical poem,
dramatizing the love sports of Krishna and Radha
on the surface and conveying simultaneously the
deep ethos of devotion of the individual soul, its
pining for God realization and finally attaining the
consummation in service of God.This Bhava is
similar in both god realization and eroticism and
the cloak fits in well. Since. The Gitagovinda was
composed specifically for dance performance
during the night worship of Lord Jagannatha, the
composition is so deftly made as to be sung to
the beats of a dancer`s foot movements. The
poem became so popular that within a century or
so, it spread to all corners of the country from
east to south, west and north and was adapted to
dance, music, painting and temple worship. The
Gitagovinda consists of twelve chapters, further
divided into twenty-four songs. Each song
consists of eight couplets, it is called Ashtapadi.
The first song has four introductory verses,
followed by eleven ashtapadi that describe the
purpose of the ten avataras of Vishnu, and at the
end, prostrations are offered for unhindered
57
completion of the work. This is followed by
another ashtapadi where the hero of the work is
hailed. In the third song the spring season is
described with its multifarious features like
pleasant smelling and cool winds, and sweet
sounds of the bees, and cuckoos, thinking of
Krishna, being led by her maiden friend to the
bowers where Krishna can be found. In this hope
Radha follows her friend.
In the fourth song, the poet describes the
delightful dance of Krishna with all gopis in the
dark forest of Vrndavana. All the gopis surround
him, embracing him with joy and caress him
passionately and he praises them hugging one,
kissing another passionately, glancing at another
and smiling with other maiden in love. Jayadeva
says that in reality, Krishna was bestowing bliss
on everyone.
In the eleventh song, the poet describes
the vipralambha srngara. Krishna, the God of
Love is waiting for Radha on the bank of river
Yamuna. The poet compares the embrace of
Radha and Krishna with the lightning and the
black cloud, and with white crane and dark cloud.
In the twelfth song, the poet describes
the pain and distress of Radha on the separation
of impertinent Krishna. Seeing the condition of
Radha sitting in her bower, unable to move, filled
by passion, and setting her mind on Krishna all
the time, the sakhi goes to Krishna to tell the state
of madness of Radha, who sees him everywhere,
before her mind`s eye, and she is alive just with
the only memory of her lover. The sakhi requests
him to go quickly to meet Radha, who is waiting
fully decked for the arrival of Krishna.
The Life of Sri Jayadeva
The presence of Jayadeva and his
descript ion as Kurmapataka Pravara
establishes that he had close lineage with the
dancing families of Kurmapataka, who had come
to Orissa during the period of Chodaganga Deva.
The two inscriptions at Madhukeswar temple and
the one at Simhachal temple were discovered,
read and interpreted by Dr. Satyanarayan
Rajaguru, the famous historian and linguist of
Orissa. Read with the inscription at Lingaraj
temple, it leads to the conclusion that Jayadeva
had been a member of the teaching faculty of the
school at Srikurmapatak. After his childhood
education, he must have gone to Srikurmapataka
and gained experience in composition of poetry
and music and in dancing. He perhaps came back
to Orissa along with the group, and performed all
those in the Puri temple which were taught at
Srikurmapataka.
Jayadeva must have gone for higher
education in Sanskrit literature and music to
Kurmapataka, and after his education, he must
have become a tutor there. That is why the two
titles Kurmapataka Pravara and Sadhu Pradhan
have been mentioned with reference to him in the
Lingaraj Temple inscription. Read together, the
three inscriptions indicate the fact of close
association of Jayadeva to the family of Komi
Nayaka and to the institution at Kurmapataka.
Prachi valley witnessed the rise and spread of
Jainism, Buddhism, Saivism, Saktism, Sun cult and
Vaisnavism. Kenduvilva and many other villages
nearby are full of religious monuments dedicated
to these different cults. Numerous temples were
erected by Bhaumas, Somavanshis and the
Gangas in the Prachi valley. Village Kenduli Sasan
has rich relics of brick and stone temples and
sculptures of Saiva, Vaisnava and Sakta cults as
well as Buddhism belonging to the period between
9th and 13th Century A.D. In Prachi Valley,
whether the temple has a Sakta or Saiva deity,
GitaGovinda is recited on festive occasions,
symbolizing the influence of Vaisnavism over
58
Saktism and the immense popularity of the text
of Gita-Govinda. The copper plate grant of
Nrsingha Deva, the 4th which was recovered from
a tank near the Nrsingha temple of Kenduli village,
was originally issued from Varanasi Katak in A.D.
1383. It refers to the establishment of
Narasinghpur Sasan donated to one Mahapatra
Narahari Das Praharaj, who was the minister of
Narasingha Deva. This Sasan is located very close
to Kenduvilva on Prachi valley. This grant also
contains the names of Olatapura and Attahaspura
Sasan adjacent to Kenduli, established by
Attahasdeva, the youngest son of Cholaganga
Deva.
Jayadevas Introduction of Radha and
Madhava
To quote Dr. Harish Chandra Das,
'While discussing about the historical background
of Jayadeva it will perhaps not be out of place to
glance through how he introduced Radha and
Madhava and dasavatara cult in the most popular
manner breaking the stylized tradition. From this
point of view, Gita-Govinda is virtually a historical
text unfurling the historical truth through his poetic
narration. The cult of Madhava, which is
historically proved to be in existence in Orissa
from seventh or eighth century A.D., gained great
momentum from the time of Jayadeva.
The first epigraphical evidence of Madhava
found in the copper plate grant of Madhavaraja
of the Sailodbhava dynasty, where the scribe has
particularized the epithet of Chakrayudha
Madhava. The image of Nilamadhava installed
by the Bhanja monarch at Gandharadi (ninth
century A.D.) comes next in order of chronology.
The image of Santosa Madhava recorded in the
copper plate grant of Indravarman Codaganga,
Madhava in the pillar inscriptions of Rellivalasa
at Srikakulam, and numerous Madhava sculptures
and temples in Prachi Valley are clear revelations
of the long continued tradition of Madhava
worship in Orissa with wide distribution in Prachi
Valley, the birth place of Jayadeva, who in the
course of his wanderings and as a devout
worshipper of Madhava infused exuberantly in
his Gita-Govinda the lucid description of
Madhava, his Deity of love and admiration.
and Krishna through his Gita-Govinda and due
to the influence of Srimad Bhagavata and Gita-
Govinda, the composite figure of Krishna and
Vishnu as Gopinath became very popular in
Orissa. When Vaisnavism became the state
religion of Orissa the composite sculpture of
Krishna and Vishnu with upper two hands in the
pose of playing the flute, standing in the tribhanga
pose associated with Astagopi and cattle, which
is the characteristic feature of Krishna, indicates
the amalgamation of two cults. The long continued
tradition of Dasavatara had a deep imprint
language, which would be put to music
and dance. To quote Dr. Harish Chandra Das
again, 'That the concept of ten incarnations of
collective images particularly in coastal Orissa,
which speak in short to the prevalence of
dasavatara worship in Orissa before the advent
of Jayadeva. Jayadeva in his composition
(dasakrtikrte) has shown the greatness of Lord
Visnu in his ten incarnations individually.
It was Sri Jayadeva, who institutionalised
the Devadasi system introduced from the time of
the Somavansi Kings. Devadasi or Maharis were
59
women dedicated to the Deity in the temple for
performance of dance and music. Jayadeva
worshipped Madhava at Niali. He was an expert
in the Shastras and Puranas, music and dance.
He was a saint poet who composed the Gita-
Govinda in the temple of Jagannatha at Puri and
his wife Padmavati danced to the tunes of Gita-
Govinda before Lord Jagannath.
Chaitanya and Panchasakha were going on
Sankirtan trips to different parts of Orissa for a
number of years. One such annual trip started
from the Ananta Vasudeva temple of
Bhubaneswar and ended at Puri, touching
Balakati-Kenduli-Niali, Madhav, Adaspur,
Kakatpur and Konark. Madhav Patnaik has
described as to how Sri Chaitanya and
Panchasakha were dancing in Sankirtan and
singing Gita-Govinda at Kenduli village, which
was the birth place of Jayadeva.
This book was discovered and compiled from
three Palm leaf manuscripts collected in Orissa
from three places in the early 1980s. Gita-
Govinda of Sri Jayadev, therefore, is accepted
as a historical text in addition to its great literary
and religious significance. Sri Jayadev initially
highlighted and systematised the traditional cults
but also introduced his own ideologies, poetic
Laxmi. Jayadeva was influenced by Ramanuja`s
ideology of Jagannath and Laxmi. In Gita-
Govinda, Krishna tells Radha that formerly she
as Laxmi chose him as her consort on the seashore
on the occasion of Samudra Manthana. As a result
of this incident, Siva swallowed poison out of
despair. Gita-Govinda was composed before
1150 A.D. and Gita-Govinda dance drama was
enacted in the Puri temple during the rein of
Cholaganga Deva and Kamarnavadeva. The
earliest reference to Jayadeva outside Orissa was
made by poet Chandabaradai, the Court poet of
Prithviraj Chauhan who was defeated and killed
in 1192 A.D. by Md. Ghori in the battle of Tirori.
The next earliest reference is found in an
inscription of Raja Sarangadev in the year 1201
A.D. Therefore, it is established that Gita-
Govinda, because of its regular performance in
the Sri Jagannath temple of Puri, assumed
popularity throughout India within a brief period
of 30-40 years of its composition. It combined
the best in the rich traditions of philosophy,
literature, music and dance in Kalinga and Utkal.
References:
1. Ayengar, Dr. NSR : Gita Govindam Sacred
Profanities : A Study of Jayadeva`s Gita Govinda.
2. Desai, Kiran : The Inheritance of loss :
Penguin publisher.
3. Misra, Pandit Nilamani : Alochana.
4. Nayak, Kshetrabasi : Sri Jagannath padyabali :
pustakbhandar, Berhampur,1980, p.21.
5. Pani, Subas : Blue Hill, ISBN.
6. Pathi, Panda & Rath : Jayadeva and Gita
Govinda in the Tradition of Orissa.
7. Panda, Bhagaban, : Shri Git a Govinda
Mahakavyam.
8. Rajaguru, Satyanarayan : Mahakavi Jayadeva
O Gita-Govinda.
Gayatrinagar, New Bus Stand,
Junagarh, Kalahandi-766014.
60
Search For a
Creative Criticism on Gitagovinda
Prafulla Kumar Mishra
A very few poets like Jayadev have the rare
privilege of being discussed so keenly by his
succesors. As the debate on his birthplace is
settled objectively to be at Puri district (Balipatana
block), so now it is the text that needs in-depth
study.
The scope of study of Gita Govinda has
many dimensions. They are on eleven fold findings.
1. Names and epithets of Krishna and
Radha`
2. The details of flora and fauna
3. Different archaic words.
4. Use of word for maturity of word (rasa
paripaka)
5. Different situations for rasaparipaka
6. Legends referred
7. Terms of alamkarasastra
8. Archaic usages
9. Colour contrast of dasavatara
10. Nine/ten rasas in vedanudharate
11. Employment of ragas.
Now, it is important to view Gitagovinda
in Jayadeva`s own words in a method of creative
criticism. Criticism in a creative manner of the
connoisseur expresses the inner mode of the
creation of the talent. But it is difficult to trace the
purport of the poet. Here is an humble attempt to
sort out some of the important points of the text
which the poet himself is interested in.
The kavya starts with deep clouds in the
sky to create an impression of uddipana-
vibhavas for a separative erotic sentiment. The
atmosphere for an aesthetic experience in an
erotic mood is quite provoking. The canvass of
sky is full of cloud like tamala tree. This dark
backdrop in the bank of Yamuna creates an
occasion for the secret love. The ensuant rain
finally results generating a deep passion for secret
sport.
In a sloka vacah pallavayati 1/3, he
refers to Arya saptasati in the context of
sandarbha sudhi as
Kavisamara simhanadah dvaranuvadah
mudhaika samvadah / Vidvadvinoda kandah
sandharbhoyam maya srstah //
On the style sansdarbha, Govardhana has
clarified his stand with the help of Hemachandras`
Kavyanusasanam.
Besides, Jayadeva speaks of his own
style as madhura-komala-kanta-padavali being
aware of the all others specialty. With this
statement, he intends to highlight his own style of
writing. Jayadeva writes Gitagovinda in a dual
61
frame where the slokas are like description, so to
say, a running commentary of the gitas. In a way
the slokas serve as a prelude to Gita. It is not out
of place to mention that there are as good as 72
slokas and 24 gitas known as astapadis or known
as prabandhas, which runs to 192 verses. In
other words slokas are story in nutshell and the
astapadis are the poetic explanations and
descriptions.
He indicates a remark on his Gitas in the
concluding verse as follows :
1. sukhada and subhada, 2. mangala ujjvala gita
3. haricaranasmrtisara, 4. adbhuta kesava keli
rahasya, 5. mohana madhuripu rupa varnana,
6. madhuripu nidhuvanasila, 7. described by
jayadeva as pravana, 8. manasa nataniya / yuvati
sakhi vacanam pathaniyam, 9. sukhayatu vacana,
10. sukrtena hari manasi udayatu, 11. hariseva,
12. rasikajana, 13. komalakalavati iva hrdaye
jayadeva bharati vasatu, 14. Kali kalusam
parisamitam janayatu, 15. duritam kaliyuga
caritam na vasatu, 16. hari hrdayam pravisatu,
17. rativancita khandita yuvati vilapam,
18. lalitavacanam haricaritan ca rasikajanam
sukhayatu, 19. catula-catu-patu caru-vacana-
muravairi, 20. adhrikrta-haram-udasita-vama-
kanthatati bhavatu, 21. vinihita padmavati
sukhasamaje, 22. vibhava dvigunikrt a
bhusanabharam, 23. madhuripumodam rasikahrdi
janayatu, 24. ruciram hrdayam sadayam
mandayatu.
The astapadis are framed under twelve
types of Vishnu. The name madhava, though
prominent here, is one among those twelve names.
They are as follows respectively but they are not
those 24 vishnu images.
1. samodadamodara, 2. aklesa kesava, 3. mugdha
madhusudhana, 4. snigdha madhusudhana
(snigdha madhava in colophon), 5. sakamksa
pundarika, 6. kuntha vaikuntha, 7. nagara
narayana, 8.vilaksa laksmipati, 9. manda
mukunda, 10. catura caturbhuja, 11. sananda
damodara, 12. suprita pitambara
There are as many as 11 ragas employed
in all the 24 gitas. They are as follows
1. malava - 1, 6, 13
2. gujjari - 2, 5, 7, 11, 15, 18
3. vasanta - 3, 14, 20
4. ramakiri - 4, 24
5. karnata - 8
6. desakhya - 9, 16
7. desa varadi - 10, 19
8. nataraga - 12
9. bhairavi - 17
10. varadi - 21, 22
11. vibhasa - 23
Quite interestingly, the nature and the
feature of the ragas are maintained. And they
correspond to concerned bhavas, rasas and the
colour attached to it. Particularly, the time
management to the ragas is taken care. In different
editions, besides jati and tala, laksanas are
mentioned here like the edition of
Dharmagranthastore. The fifth gita is mentioned
as gundakiri in place of malava. The editor
mentions the laksana is as good as malava raga.
Sixth (malava) and the twelfth (nataraga) are
known as gundakiri, 13th malava gauda in stead
of malava only. The 2nd gita is more or less a
repetition of ideas with a grain of srngara in the
centre.
The background of the Gitagovinda is
enriched by the impact of Halas Gatha sapta
sati and subsequently, the contemporary poet
Govardhana in his Arya sapta sati. But, Jayadeva
62
has picked up the free style of cowboy`s hero
Krshna`s story where the longing and reunion of
Radha and Krshna forms the concrete example
of religious experience transformed from erotic
excellences. Both of them signify the paramount
of love where the probable concept of 'you and
'I attain lapse in the ecstatic ocean of bliss. The
mundane longing cannot board a man to that
richness of emotion. That is why the rahas keli is
the mysterious love sport which is not to be
described in detail.
But, the backdrop of Nature provokes
man to reach the height of emotion, and becomes
sancari bhava of the erotic sentiment. The first
canto introduces Vasanta raga of Lalita
Lavangalata, which proceeds after
vasante vasanti kusuma sukumarair
avayavair bhramantim kantare bahuvihita
krsnanusaranam / amandam kandarpajvara
janita cinta kula taya baladvadham radham
sarasam idam uce sahacari //1.16
The nature prepares the bouquet of
flowers malli, ketaki, cuta, etc. for the divine hero
with full grown tender lavanga (pepper) creepers,
with the blow of gentle breeze and the humming
of bees and the rapturous song of cuckoo
provokes Hari for vihara, the amorous sport.
The eroticism terms him as the mugdha
madhava as he is a hero who is mugdha / charmed
by the love of mugdha nayika. Basanta awards
the prominence of love and that is sambhoga
srngara. Jayadeva the alchemy of life had
prepared all the atmosphere of vibhava as Krsna,
and the aneka nari, anubhava, the mugdhatva
and the sancari as the lalita lavanga lata etc.
The description reaches him in depicting
the climax of love, which gradually extends the
occasion for longing and union, as it is said
nirantara milai kavahu milena etc. The
background of spring leaves scope for srngara
though srngara is rightly started in the backdrop
of clouds. This refers to Kalidasas` meghaloka
bhavati sukhino etc. of Meghadutam. The
epithets of krshna attributed by the author are quite
erotic. When the dasavatara strotra is found to
be repeated more or less in the second song in an
erotic mode, it is understood that Jayadeva sticks
to his declaration of hari smarana and
vilasakala-kutuhala (1/4). Both of the songs,
though thematically same, are designed differently.
First, with all the rasas and bhavas taken together,
and the second one is exclusively on the lalita
kala or the gandharva kala. This paves the way
for the arrival of an environment of delicate love
where Krshna is the master of love play.
1. cumbana silpi, 2. srngara adhyapaka, 3. rati
pandita, 4. mugdha, 5. kucakumbha dhyana japa,
6. kandarpa jvara, 7. viraha vyadhi, 8.
madanakadana klanta, 9. ratiranadhira, 10.
daivata vaidya for the smaratura.
The details of the srngara are decorated
in respective places as per the sastras. The eight-
sattvika bhavas are enumerated for the love of
the hero and heroine. Jayadeva says how krishna
is the murtiman / embodiment of srngara.
It is remarkable from the above
discussion, how Jayadeva is oscilating between
bhakti and srngara and rarely settles in one point.
His device of bhakti through description of love
of the divine lover and the beloved which
transcend from mundane to extra mundane, from
personal to impersonal and from human to
superhuman.
Professor of Sanskrit,
Utkal University,
Vanivihar, Bhubaneswar.
63
Impact of Sri Geeta Govinda
on Oriya Literature
K.C. Patnaik
Jayadeva was worthy successor of Shriharsha,
Bhaba Bhuti and Kalidasa. He was born to
Bhojadeva and Bama Devi of Kenduvilwa village
now Kenduli, in Khurda District of Orissa.
Geeta Govinda was composed in the Sri
Jagannath Temple at Puri. The book Jayadeva
Charita describes that Jayadeva and Padmavati
lived after their marriage at Kenduli where a
temple and a palatial building were constructed
for them by the Vardhaman Raj family. After their
stay for some years at Kenduli, they went to
Brundaban and lived there for twelve years and
breathed their last.
Jayadeva, after his child hood education,
must have gone to Srikurmapataka, and gained
experience in composition of poetry, music and
dancing. He perhaps came back to Orissa along
with the group and performed in the Puri temple.
Sri Jayadeva, the celebrated poet of
Geeta Govinda, was born in the village Kenduvilva
Sasan most likely in the first part of 12th century
A.D. during the reign of Cholaganga Deva.
and Krishna through his Geeta Govinda and due
to the influence of Srimad Bhagavada and Geeta
Govinda, the composite figure of Krishna and
Radha as Gopinath became very popular in
Orissa.
Madhva Patnaik, a vaishnavite poet, was
contemporary of Panchasakha and Sri Chaitanya.
He has described as to how Sri Chaitanya and
Panchasakha were dancing in Sankirtan singing
Geeta Govinda at Kenduli village, which was the
birth place of Jayadeva.
From the information available, it is
evident that Sri Chaitanya & Panchasakha were
going on Sankirtan Trips to different parts of
Orissa for a number of years. One such annual
trip started from Ananta Vasudev temple of
Bhubaneswar and ended at Puri touching
Balakati-Kenduli-Niali Madhav, Adaspur,
Kakatpur and Konark.
Geet a Govinda of Sri Jayadeva,
therefore, is accepted as a historical text in addition
to its great literature and religious significance. The
tremendous influence and immense popularity of
Geeta Govinda in Orissa not only served as a
source of inspiration to her scholars to write first
commentaries on the imitation of it but it also
brought remarkable change in Orissan
iconography.
The Geeta Govinda influenced the entire
Sanskrit Literature of India as a whole which is
clearly proved by the large numbers of imitations
of this work made by the poets of different part
64
of India; but the influence of the Geeta Govinda
was the greatest in Orissa where the number of
imitations made by her poets was greater than
that made in any of the region of India. The Geeta
Govinda being a popular work in Sanskrit had
translations and commentaries in Indian
languages. Let us see how the Geeta Govinda
has influenced on Oriya Literature.
The intensive research of manuscripts of
different parts of the state for the last 3 (three)
decades has proved that Geeta Govinda stands
next in circulations to the Oriya Bhagavat by the
saintly poet Jagannath Dasa, intimate associate
of Sri Chaitanya at Puri. Generally in each village
in Orissa, a house is set apart for worship of the
Oriya Bhagavata by Jagannath Dasa called
Bhagabata Tungi or Ghara where manuscripts of
Geeta Govinda and other religious works are
preserved. Examination of the old Oriya
manuscripts has brought to light the following
commentaries and translations of the Geeta
Govinda while information about others are
gradually being made available.
i. Geeta Govinda by Dharanidhar Dasa:
Of all the translations of Geeta Govinda
into Oriya so far known, the one by Dharanidhra
Dasa is the oldest and the most popular. It has
been printed by several presses in Orissa. In this
translation, the said poet Dharanidhar Dasa has
presented different Ragas and varses for his 16
Chandas like Sri Jayadeva, who had used 11
Ragas for his 24 verses. As there is no information
about his time or family in the text of his wok
except saying that he was a Brahmin by Caste, it
can be tentatively fixed in the middle of 16th
century. The language of Sri D. Das is simple and
melodious.
ii. Rasavaridhi by Brundaban Dasa:
The translation of Sri Geeta Govinda
made by Burndaban Dasa is known as
Rasavaridhi. The author who was a devout
Vaishnaba has not furnished any information about
his family & time in his work.
iii. Amrit Sagar Boli by Dina Krushna Dasa:
Dina Krushna Dasa or Krushna Dasa, the
Rajput settler in Orissa, was a prolific writer of
the 17th Century. He was the author of large
number of works. In his work Amrita Sagar
containing 45 chapters, he has described the entire
Gopalila of the 10th Skandha of Bhagavata
Purana. 20 chapters of this work (13th to 32nd)
depicting the Rasalila of Sri Radha and Krishna
are based on the Geeta Govinda of Sri Jayadeva.
There by he has clearly incorporated Sri Geeta
Govinda into the Bhagavata both of which were
immensely popular in Orissa.
iv. Artha Govinda by Vajari Dasa:
Vajari Dasa, a Sadhu from North India,
who had settled in Ashok Khila ghar in the district
of Dhenkanal wrote a translation of Sri Geeta
Govinda called Artha Govinda in Navakshari
Bhagavatavrata in 1674 AD (21st Anka-
Mukunda Deva-I)
v. Oriya Translation by Udhaba Dasa
Udhaba Dasa who was Kamar (Black
Smith by caste) translated Geeta Govinda into
Oriya Verses by being directed in dream by his
reputed Guru Sri Jagannath Mishra to take up
this noble work. It is also known that the Guru
Sri Mishra had written a commentary on this work.
vi. Prose translation by Ananta Rath-
Vanibhushan:
From the Colophon of many scripts
containing the translation of Sri Geeta Govinda in
Oriya Prose it is known that one Ananta Rath
bearing the title of Vanibhushan wrote this at the
65
request of King Dwya Singha Deo I ruler of
Khurda during (1688 to 1716 A.D)
vii. Prose translation by Sri Jagannatha
Mishra :
In this Oriya Tika, there is a Mangala
Charan in Sanskrit in 3 verses - the 1st one is
seeking the blessing of Sri Ganesh and Jagadamba
(Parvati). The 2nd and 3rd verses praise the divine
Lila of Sri Raddha and Krishna in Vrindavana as
depicted in Sri Geeta Govinda.
viii. Prose Translation by Vasudeva Mishra:
There is a manuscript containing the prose
translation of the Geeta Govinda by Vasudeva
Mishra which is called Valabodhini Tika)
There is a translation of Geeta Govinda
in Oriya prose by Trilochan Das (Barber by
caste). Some discussions were also made about
Sri Jayadevaa and Geeta Govinda. Similarly some
other translation of Geeta Govinda in Oriya prose
has been given to the State Museum.
ix. Vasanta Rasa by Pindika Sri Chandana:
Sri Chandana - native of village
sanapadar under Begunia P.S. of Puri district -
(1688 -1715 AD) wrote his Vasanta Rasa in
imitation of Geeta Govinda for wide circulation
among the Bengali followers of Sri Chaitanya. It
was written in Bengali with some sweet Oriya
songs incorporated at different places of the text.
It gained great popularity due to its simple and
charming language for which a large number of
manuscripts of this work are available. It has been
printed by several publishers.
x. Vasanta Krida Samujjvala Rasabati by
Shyam Sundar Bhanja:
Sri Bhanja, a Zamidar of the small estate
of Halidia near Khurda in the district of Puri was
an author of some works, the manuscripts of five
of which have been acquired by the State
Museum.
Besides the above translation by the
Geeta Govinda in poetry and prose, its impact
on the classical literature by Orissa was
tremendously felt as in all Oriya Kavyas beginning
from Rama Vivaha by Arjuna Das (C-1520) upto
Kishore Chandra Nanda Champu by Kabi Surya
Baladev Rath (1810 AD). This classical aspect
of Geeta Govinda was scrupulously followed by
all Kavya writers of Orissa which is scarcely found
in other Indian language.
Among hundreds of small and big Krishna
Kavyas, the excellent Rasa Kallola by Dina
Krishna Dasa, Rahasya Manjari by Debadurlava
Das, Vidagdha Chintamani by Abhimanyu
Samanta Sinhar (C-1750 AD) and Kishorre
Chandra Nanda Champu by K.S. Baladev Rath
bear the close impression of the Geeta Govinda.
As regards style, diction and flowing melody of
these, Champu is still very popular in Orissa.
K.B. Street, Old Town,
Bhubaneswar- 2.
R
66
Sri Krsna - Jagannath Consciousness :
Vyasa - Jayadeva - Sarala Dasa
Dr. Satyabrata Das
Vyasa`s original Sanskrit Mahabharata, his
magnum opus, was written between 3rd and 4th
Century B.C. The entire casting of this great
Indian epic was done with a lot of care and
craftsmanship. Among the dramatis personae Sri
Krsna seems to have received the best attention
and artistic favour from the master, Vyasadev. As
it turns out, Sri Krsna emerges as the most
glamorous, charismatic and the most sought-after
character. He is not only the possessor of the
unique panchajanya conch and the formidable
Sudarshan Chakra; he is the omniscient,
philosopher-king, rhetorician, diplomat, strategist,
statesman, guide, friend, preceptor, conscience-
keeper, crisis-manager, spokesperson and the
ambassador of the Pandavas.
Further, Vyasa`s doting on the character
of Sri Krsna takes the centre-stage and remains
the focal-point in the entire stretch of the
grandiloquent Shrimad Bhagavad Gita, a massive
sub-plot, that spans quite impressive eighteen
chapters, and ultimately turns out to be the
quintessence of the great epic.
On this ionian highway the next
conspicuous milestone after Vyasa that we stumble
upon is the 12th century Sanskrit poet from Orissa,
Jayadeva. While Vyasa only highlights Krsna`s
spiritual, intellectual and diplomatic traits and
blows the character out into a larger - than - life
stature; Jayadeva in his classic Gita Govinda
focuses only on the sensuous, romantic inter-
actions between the divine pair, Sri Krsna and
Sri Radha, often bordering on sensuality and
licentiousness. Jayadeva conceives the characters
of Sri Krsna and Sri Radha as divine companions
though, all along the classic Gita Govinda we have
the feeling that the poet delicately and immaculately
brings out the finer and the most elemental virtues
like love, longing, ecstasy and transcendence
without any conscious attempt to mystify or to
portray them out into larger-than-life statures. The
poet with the best of his artistic and lyrical
manoeuvres keeps himself grounded in reality.
More than three hundred years after, yet
another Oriya poet, with no direct knowledge of
Sanskrit or any trace of scholarship, and purely
from agrarian background shows an incredible
feat by composing the Mahabharata in Oriya. And
thus doing he becomes the pioneer, the path-finder.
And soon others from Bengal, Assam and the
Hindi belt follow the suit. He is Sarala Dasa. His
Mahabharata in Oriya is not a translation of the
original Sanskrit Mahabharata, nor even written
in the shadow of it. It is out and out original both
in structure and content though; the general
schemata and the main story-line remains on the
backdrop. As a western scholar John Boulton
looks at it : 'Sarala Dasa`s Mahabharata was the
first important Oriya work on the Jagannath cult.
Though Sri Krsna is portrayed as the protagonist
of Sarala Mahabharata, Sri Jagannath continues
to be Sarala`s 'counter theme.
As Boulton explains :
Scattered throughout his Mahabharata,
Sarala presents a number of historical, racial
memories, which appear in the form of dream like,
67
narrative sequence. In recounting them he is
obviously looking back from the stand-point of a
tradition. It is clear from his account that his
sympathies lie with the Savaras, whose God in
origin Jagannath was.
Sarala (who proves himself every inch a
poet, original and striking) breaks away from the
master craftsman Vyasa in more than one ways.
First, he heavily rationalizes the portrayal of the
character of Sri Krsna. In a way, Sarala reacts
against the Sanskritic-Hindu-Aryan pantheon of
Gods and Goddesses. So we are not at all
surprised to find the various Gods and Goddesses
including Lord Krsna without any supernatural
clout or larger-than-life portrayal in Sarala
Mahabharata. As Boulton comments:
.here we come to the crux of the matter - Sarala
Dasa behaves towards Krsna in the traditional
manner of Oriyas towards Jagannath : he mocks
and debunks him. In doing so he breaks away
from the path of both Vyasa and Jayadeva.
Vyasa had exalt ed Krsna as the
philosopher-hero and Jayadeva as the divine
lover. But Sarala Dasa refuses to regard Krsna/
Jagannath as anything but an equal, whose faults
are to be mocked and censured.
But all the same, Sarala, who uses the
Oriya lingua franca as his medium successfully
creates an atmosphere of informality in dealing
with Sri Krsna or Sri Jagannath that becomes the
very spirit of typical Oriya devotees including the
Sevayats of Puri Temple. They look upon Lord
Jagannath as a member of their family - so close,
so intimate, so informal. Thus the Mahabharata
of Sarala Dasa is a world apart from the
Mahabharata of Vyasadev. That explains why
Sarala has skipped the entire Shrimad Bhagavad
Gita and heavily abridged the Santi Parva of
Vyasa`s original. Nowhere do we find Vyasa`s
omniscient, philosopher-king Krsna in Sarala`s
epic.
Sri Jagannath Cult : A veritable melting pot : Orissa
(synonymous with Sri Jagannath - a cult, a way
of life, a living culture) has been a meeting ground,
a melting pot of all sects and faiths since time
immemorial. Brahmanya, Jaina, Buddha, Natha,
Saivya, Shakta, Soura, Ganapatya, Nirguna,
Saguna, Vaishnava - all streams have flooded the
Orissa coast. And Sarala Mahabharata has the
unique distinction of integrating, synthesizing and
reflecting the myriad thoughts and faiths. At several
points in Sarala Mahabharata, Jagannath is
identified as Buddha, Krsna and Rama.
As Sarala writes in the Adi Parva :
Salute thee Sri Jagannath
The revered One whose domain
Is the Blue Hills:
He sits pretty as Sri Buddha
There in the Blue Cavern
At another point in the Adi Parva Sarala writes:
Glory be to Rama Krsna
Brahmaa as Subhadra
And to the great soul Buddha
In Madhya Parva Sarala writes :
There comes Sri Jagannath
As Buddha to liberate the Mankind
(Translation : mine)
Such instances are many where Sarala looks at
Sri Jagannath as one with Sri Krsna, Sri Rama,
and Buddha. A wonderful integration, a rare
unification and synthesis of all faiths and paths.
Sarala Mahabharata indeed is a unified voice, a
sum total of the consciousness that draws its
energy and vibration from one common source -
the Krsna - Jagannath pool.
Reference :
Boulton, John. Essays on Oriya Literature. ed.
Ganeswar Mishra. Kolkata : Profulla, 2003.
Senior Reader and Head,
Deptt. of English,
Ekamra College, Bhubaneswar.
R
68
Dasavatara in the Temple Art of
Upper Mahanadi Valley
Sasanka Sekhar Panda
The earliest epigraphic record found in south-
western Orissa is the Podagad Stone Inscription
of the Nala king Skandavarman, who
installed the foot-print (Padamula) of
Visnu in a newly constructed temple
and donated certain holdings to the
donee Chakradrona for worship in
the temple.
1
Skandavarman (Reigning
Period : circa 480-515 A.D.) was the
first Nala ruler who patronised
Vaisnavism in South Kosala. Learned
scholar S.C. Behera opines that
Samudragupta`s invasion of the
kingdoms of Daksinapatha
sometime in the first quarter of the 4th
century A.D. ushered in an era of
Vaisnavism in South Kosala.
2
Another
scholar H.C.Das while supporting this
contention of Behera has further put
forth his views that 'this religion (Vaisnavism) might
have spread in this land from the first phase of it`s
reflection.
3
The invocatory verses of Podagad
Stone Inscription record the worship of Lord Hari
: 'Hari was victorious, is victorious (and) will be
victorious.
4
The incription was inscribed on the
27th day of Madhava-masa (Vaisakha) in the
12th regnal year of the king. In the 11th line of
this Stone Inscription the word Vasudevasraya
occurs.
5
All these epithets of Visnu like Madhava
and Vasudeva reflect the deep devotion of the
Visnu with Dasavatara, Saintala
Circa 8th Century A.D.
Laksmana Temple, Sirpur
Circa 8th Century A.D.
Bhu-Varaha, Ranipur Jharial
Circa.8th Century A.D.
Nala king Skandavarman to Lord Hari (Visnu)
as early as the 5th century A.D. Learned scholar
C.B. Patel
6
has rightly suggested that
the occurrence of Vasudeva(Krsna)
in the Podagad Stone Inscription of
Skandavarman testifies to the
prevalance of Vasudeva Cult in the
Nala domain. The Nalas were ruling
the Koraput-Kalahandi region of
Orissa and the adjacent Baster area
of Chhatisgarh State some time in the
5th century A.D.
Learned scholars Dr. N.K.
Sahu
7
and J.P. Singhdeo
8
are of
the view that as the Satavahanas had
their control over South Kosala in
the early Christian era, since that
period Vaisnavism might have
flourished in western Orissa. A
Satavahana king of the 2nd century A.D. chaimed
to be equal to Rama (Baladeva or Sankarsana)
and Kesava (Vasudeva Krsna).
9
The Nala rule was replaced by the rule
of a minor dynasty called the Parvatadvaraka in
the Kalahandi region and subsequently sometime
in the 6th century A.D. this region came under
the hegemony of the Sarabhapuriya or
Amararyakula rulers. The Sarabhapuriya kings
like Prasannamatra, Mahajayaraja and
69
Broken Visnu image, Saintala
Broken Visnu image, Saintala
Matsya Avatara, Gandharadi
Mahasudevaraja have
declared themselves as
Paramabhagavatas in
their copper-plate grants.
The repousse gold coins of
P r a s a n n a m a t r a ,
Mahendradit ya and
Kramaditya found from the
Maraguda Valley and
Nehna village of Nawapara
district, Budhigad (near
Madanpur) of Kalahandi district and
Dangarmunda of Balangir district bear the
emblems of front-faced Garuda bird in the centre,
flanked by Samkha and Cakra in the left and right
sides respectively. In the seals of t he
Sarabhapuriya copper-plate charters we find the
depiction of a standing figure of goddess Laksmi
flanked by two elephants.
The Sarabhapuriya rule in South Kosala
was succeeded by the Panduvamsi rule. The early
Panduvamsi rulers like Mahasiva Tivaradeva and
his immediate successor Mahanannaraja have
declared themselves as Parama Vaisnavas in
their charters. The royal seal attached to the
copper-plate charter of Mahasiva Tivaradeva
contain the emblems of a Garuda, a
Cakra (discus), a Samkha (conch-
shell) and a flower device. Although
Panduvamsi kings of the later period
were Saivites by faith; Vasata, the
queen-mother of the great Panduvamsi
king Mahasivagupta Balarjuna was a
devout worshipper of Lord
Purusottama Nrsimha, as recorded in
her Laksmana Temple Stone
Inscription of Sirpur. In this Stone
Inscript ion the brave deeds of
Balarama and his younger brother
Krsna are also recorded alongwith
reference to the future Avatara of
Visnu, i.e. Kalki.
10
The
Panduvamsis were
ruling from Sirpur in
Chhatisgarh State, but
their successors
migrated to the Balangir
- Sonepur region of
Orissa sometime in the
first half of the 9th
century A.D. and ruled
as Somavamsis. The
Somavamsi kings were devout worshippers of
Lord Siva and were having the epithet of Parama
Mahesvara. The Sonepur Plates of the first
Somavamsi king Mahabhavagupta Janmajaya
issued in his 17th regnal year records the grant of
Gettaikela village by Kamalavana Merchants
Association for day-to-day expenditures as well
as mentainance of two temples, one of Lord
Kesava and the other of Lord Aditya at
Suvarnapura.
11
In the Brahmesvara Temple Stone
Inscription of Kolavatidevi (the queen-mother of
the Somavamsi king Udyota Kesari), the fourth
Somavamsi king Mahasivagupta Dharmaratha has
been described as the second Parasurama, 'Who
suppressed his enemies by his invincible hands
possessing strength of the thunderbolt
and was powerful like the mid-day
sun. Before the Somavamsi
occupation of the upper Mahanadi
valley of Orissa, the Boud-Sonepur
region was ruled in the 8th-9th
centuries A.D. by the Bhanjas of
Khinjili Mandala from their capital at
Dhrutipura. The Prasasti of their
copper-plate charters start with
invocatory verses referring to
Bhairava, the ugra aspect of Lord
Siva. But inspite of their devotion to
Lord Bhairava, the second Bhanja
king Satrubhanja alias Gandhata was
70
Standing Nrsimha, Narsinghnath
Nrsimha killing Hiranyakasipu,
Indralath Brick Temple, Ranipur
Jharial Circa.9th Century A.D.
Standing Nrsimha, Indralath Brick
Temple, Ranipur Jharial
a devout Vaisnava
(Paramavaisnava). The last great
Bhanja ruler who ruled for more than
fifty-eight years was Ranabhanja. As
known from the copper-plate charters
issued by him, in the beginning of his
reign he has declared himself as a
Paramamahesvara, in between his
11th and 26th regnal years he became
a Paramavaisnava and again in the
closing years of his reign (54th to 58th
regnal years) he has declared himself
as a Paramamahesvara. Most
probably Maharaja Ranabhanja
constructed the twin temples of
Gandharadi on one single platform,
one dedicated to Nilamadhava Visnu and the other
to Siddhesvara Siva. Both these temples are
proto-type of Parasuramesvara Temple of
Bhubaneswar, which belongs to the 8th century
A.D.
In the sculptural art of the upper
Mahanadi valley of Orissa, among the icons of
Vaisnavism, that of Nrsimha greatly out-numbers
other forms of Visnu.
The earliest of the Vaisnavite icon found
in the upper Mahanadi valley of Orissa is a four-
handed figure of Lord Nrsimha, seen to be seated
in Maharajalila.
Although eroded to a
great extent, in this
image the Lord is seen
to be putting the palm of
his lower left hand on his
left thigh, while resting
his lower right hand on
a mace (Gada). In his
up-raised upper left
hand he is seen holding
a discuss (Cakra), while
his upper right hand is broken. This
image was collected from t he
Maraguda Valley of Nawapara district
and is at present in the Khariar
Museum. Such seated image of Lord
Nrsimha in the most pacified form and
seated in Maharajalila is not yet
discovered anywhere in Orissa. It
seems to the earliest specimen of
Panduvamsi art and may be assigned
to be the 6th century A.D. when
Nannadeva, fat her of Mahasiva
Tivaradeva was ruling over Maraguda
region sometime in circa. 550 A.D. as
a Samanta of the last Sarabhapuriya
king Sudevaraja-II. A clay seal of
Nannadeva has been discovered from the
Maraguda Valley.
15
As stated earlier, the Panduvamsi kings
of South Kosala like Tivaradeva, Mahanannaraja
and Queen Regent Vasat a were devout
Vaisnavas. Under their rule Vaisnavism flourished
in this region in the period from the second half
of the 6th century A.D. to the 8th century A.D.
Before them also Vaisnavism got patronage from
the Sarabhapuriya kings in the 5th-6th centuries
A.D. as they were great Vaisnavas (Parama
Bhagavatas). In the gateway of t he
Garbhagriha of
Laksmana Temple of
Sirpur, Avatara of Lord
Visnu like Matsya, Varaha,
Nrsimha, Trivikrama and
Buddha are carved on one
Sakha of the five Sakhas.
The dvara-lalata-vimba of
this doorway is adorned by
Anantasayi Visnu panel.
16
The Panduvamsi influence
continued unabated in
western Orissa in the 8th-
71
Narsinghnath
Trivikrama image, Sauntpur
9th centuries A.D.
In this context, the two
Visnu images of Saintala
are of great interest,
because of the fact that
Dasavatara are carved
in both sides of the image
of the central figure
Visnu. Both these figures
were located by the great
scholar late P.C. Rath in
1940 and reported in the
Journal of the Kalinga
Historical Research
Society, Balangir. His
report goes verbatimas
follows : 'of great interest
are the two figures of Visnu. In one of these the
central figure is missing and in the other though
there is the central figure, the subsidiary deities
depicted on the same block are missing. Both the
figures are of similar dimensions and equal
workmanship. We may very well utilise the
information received from the study of one to
supplement the account of the other. So the details
of both figures being the same, both are described
together below.
In both these statues Visnu stands on a
lot us. Below this lot us there are some
worshippers. On both sides of this relief, there is
the representation of Garuda to the left and of a
saint, probably Narada to the right. On both sides
of these, stand the figures of Laksmi with a lotus
holding the stalk in her left hand and Sarasvati
with a musical instrument. The figures of Laksmi
and Sarasvati are much bigger than the other
figures.
The fish and tortoise do represent the
incarnations of Visnu, as the other incarnations
are shown in relief in small figures surrounding
the main deity. The bottom left has Varaha with
Nrsimha above it. Vamana comes above it. The
upper portion of Parasurama is missing but the
Parasu is quite visible.
The figure of Rama which probably was
depicted on the left side of the main statue is
missing. But the figure of Halayudha coming below
is clear, Buddha and Kalki do come the next.
The top of this statue has for decoration
the scene of Samudramanthana or Churning of
the Ocean, with the Devatas in one side and the
Asuras in the other side.
The head of Visnu has a lotus behind it,
and a Kirtimukha decorates the topmost portion
above the lotus.
The central figure of Visnu has only two
hands and unfortunately the hands being broken,
nothing can be said about the Ayudhas.
The greatest misfortune is that the heads
in both these images are missing.
17
The central
figure Visnu stands in a Samabhangaposture and
is adorned wit h Hara, Katimekhala,
Yajnopavita and Vanamala.
Depiction of Dasavatara in the same
stone block in both sides of the central figure Visnu
has been made in another
exquisitely carved
standing Visnu figure,
found in front of the
Nilakantheswar Siva
temple at Dadpur,
situated at a distance of
around 10 kms from
Bhawanipatna town, the
district headquarters of
Kalahandi district.
Although this temple is
rebuilt on the temple ruins
of an old t emple,
72
Trivikrama image, Narsinghnath
Visnu image with Dasavatara
Depiction, Dadpur
sculptures kept
inside the
Jagamohana as
well as outside
the temple are of
considerable
significance. In
front of t he
temple, a
standing figure of
Visnu in
Samabhanga
posture is kept
underneath a
tree. It is a
beautiful figure
full of
ornamentation
carved out of
black chlorite.
The Lord is seen wearing a Kirita Mukuta and
round Kundala made of pearls. In both sides of
the Lord, his ten incarnations 'Dasavatara are
depicted. In his right side, a seated Buddha is
carved near his right foot and above it a standing
figure of Rama. Near his Pravabali, in the right
upper portion, a fish is depicted. Other incarnation
figures are broken and missing now. To the left
side of the Lord, near the Pravabali a tortoise
figure is carved out. Similarly in the left side in the
upper portion Nrsimha and in the lower portion
Kalki on horse-back are carved. Above Kalki a
standing male devinity is depicted whose hands
are broken now. This sort of depiction of
Dasavatara in both sides of the standing figure
of Visnu occurs in Saintala also, which is taken
as a site of the 8th Century A.D. Near the right
foot of this Visnu figure, a figure of Garuda seated
in kneeled down posture and both his hands
folded in obeisance is carved. Similarly Rsi
Markendeya is seen to be seated near the left
foot of the Lord with both of his hands folded in
obeisance. Just above these figures of Garuda and
Markendeya standing figures of Laksmi and
Bhudevi are carved. Besides these figures, three
female devotees, the central one seated with face
to the front-side and the other two in side postures
are carved on the pedestal. The Lord is seen in a
graceful mood, wearingKaustuvamani alongwith
beautiful beaded necklaces Vaijayanti, while the
Srivatsa mark is seen adorning his chest. This
figure of Visnu is similar to the Nilamadhava Visnu
figure of Gandharadi. This scholar is inclined to
place this to the late Somavamsi period, i.e. 11th
century A.D.
18
Small images of various Avataras
like Matsya, Kurma, Varaha, Vamana and
Buddha are housed in the Jagamohana of both
the temples of Gandharadi in the district of Baud.
These miniature sculptures might have adorned
small niches on the exterior walls of the
Nilamadhava Visnu temple in their original state.
Among the ten Avatara of Visnu, the Nrsimha
Avatara seems to have
gained much popularity
as we get Nrsimha
images all over the
upper Mahanadi valley
amidst Saivite and
Shakta deities. The
image of Nrsimha killing
the demon
Hiranyakasipu is found
to be carved in the
crowning Cait ya
medallion just above the
northern Parsvadevata
niche of the brick temple
'Indralath at Ranipur
Jharial in the district of
Balangir. In the western
side of this temple also
the Caitya medallion
73
Bad Dadhivaman Temple, Sonpur
Trivikrama image, Banei, Sundergarh
District Circa. 10th Century A.D.
surmounting the corner
niche is having t he
depiction of a standing
Nrsimha (sthanaka
Nrsimha). Nrsimha cult
gained so much popularity
that a temple dedicated to
'Bidala Nrsimha was
constructed by the
Chauhan king Vaijala - I
in around 1413 A.D.
19
in
the northern flank of the
Gandhamardan mountain
in the district of Bargarh. Most probably this
temple was originally dedicated to Purusottama
Nrsimha and was constructed by Queen Vasata
in the 8th century A.D. ASthanaka Yoga Nrsimha
image, now preserved in the kitchen of the temple
can be taken to be the presiding deity, which was
replaced by the present central deity, the Bidala
Nrsimha (the feline form of the god), a cat-faced
and lion-bodied god.
The parsva-devata niches of
Narsinghnath temple house Nrsimha in the west,
Varaha in the south and Trivikrama in the north.
Such arrange-ment of the Parsva-devatas is
found in the Jagannath temple at Sonepur also.
In the left-hand corner of the Gelaba
scroll of the eastern doorjamb of the Jagamohana
of the Narsinghnath Temple there is a scene of
one profile male figure worshipping Yoga Nrsimha,
seen to be seated in Utkutika posture the forelegs
being maintained in the required position by the
yogapatta belt going around them and the back
of the body. In the southern Raha portion of
Narsinghnath Temple the Gajakranta figure is
surmounted by a niche, which is flanked by
Baranda mouldings in both sides. This niche is
also housing a four-handed image of Yoga
Nrsimha, seated in Utkutikasana.
Loose sculptures of Nrsimha are found
at Talgaj, Daspur Surda, Ghudar and Udepur in
Balangir district, Sonepur (Gokarneswar,
Suresvari and Suvarnameru temple compounds),
Godhaneswar in Sonepur district, Topigaon in
Kalahandi district and Belsara in Sundergarh
district of west Orissa.
Varaha worship also seems to have gained
much popularity. Like the rock-cut Varaha image
of Visnu found at Udayagiri near Vidisa in
Madhya Pradesh and belonging to the early 5th
century A.D.,
20
an exactly similar figure of Varaha
is carved on a huge monolithic rock to the south-
east of the Somesvara Siva temple at Ranipur
Jharial. But like the Vidisa Varaha the composition
here is not so much crowded, only the depiction
of Varaha lifting the earth goddess (Bhudevi) and
worshipped by the Naga couple is made in the
Ranipur Jharial Varaha. Here the Varaha
incarnation of Lord Visnu is carved on a huge
rocky elevation of ten feet in height and twenty-
five feet in length, situated on the south-eastern
embankment of the Samiabandh tank. A profile
figure of four-handed Varaha of the height of
around four feet and breadth of two feet and a
half is carved on this
huge boulder. The
Lord is seen wearing
Aksamala or beads of
Rudraksa as Hara,
Keyura, Kankana
and Katibandha. In
his lower left and right
hands, he is seen
holding Samkha and
Gada respectively
while in his upper right
hand there is Cakra.
The upper left hand of
this figure is highly
powerful and
74
Dasavatara Depiction on
gateway to Garbhagriha of
Radha Krishna Temple,
Gopaljee Math, Sambalpur
vigorous. Varaha is seen with folded palm touching
the left portion of his chest and on his elbow is a
seated figure of Bhudevi like a child. His left leg is
slightly raised and placed on the
chest of Adisesa, whose figure
is human above and snake below
weist. Here the Naga Adisesa is
seen to be having a five hooded
conopy on his head and is having
both his hands folded in
obeisance to the Lord in Anjali
pose. He is worshipfully looking
at the great deliverer of the earth
with up-lifted head. This serpent,
Adisesa, is accompanied by his
wife, a Nagini, up-weist in
human form under a five hooded
snake-canopy and below weist
in snake-form seen to be enter-
twined with snake-form of her
male counter part. Her right hand
is firmly placed on the ground
with the support of which this
Nagini is sitting. Her left arm is
raised up.
21
It is an unique figure
of Bhu-Varaha,
22
carved on the
body of a rocky elevation. No
such figure is found else-where
in the entire Orissa. It can be
dated to the 8th century A.D.,
the Panduvamsi period.
Loose Trivikrama
images are also found all over
western Orissa in places like
Sauntpur, Sonepur and Banei.
Dasavatara concept
seems to be extremely popular
through out the period of history in the upper
Mahanadi valley of Orissa. Even in the beginning
of the 17th century, Dasavatara images have been
carved in both sides of the gateway of the
Garbhagriha of the Radhakrushna temple situated
in the compound of the Gopaljee Math at
Sambalpur. In this depiction a standing figure of
Lord Jagannath has been depicted as the 9th
incarnation of Visnu, instead of Buddha. This
temple was built by prince Bansagopal, the third
son of the Chauhan king Madhukara Deva of
Sambalpur (Reigning Period : 1591-1617 A.D.)
Prince Bansagopal renounced the royal comfort
and became an ascetic (Sanyasi).
23
He founded
the Gopaljee Math at Sambalpur and spent his
entire life there paying his deep devotion to Lord
Krsna. In the Gopaljee temple of Sonepur
belonging to the last quarter of the 18th century,
Matsya, Varaha and Nrsimha images are placed
in the Parsvadevata niches. An image of Girija
Nrsimha is housed in the western Parsvadevata
niche of the Gundicha temple of Sonepur also.
The Laksmi-Nrsimha cult gained momentum
during the Ganga period in around 12th-13th
centuries. An unique image of Laksmi - Nrsimha
is found in the Gopaljee temple compound of
Sonepur, which belongs to the Ganga period,
circa. 13th century A.D. when a governor was
posted at Sonepur as evidenced from the
Khambesvari Temple Stone Inscription, now
preserved in the Sambalpur University Museum.
24
References :
1. Rajaguru, S.N., Inscriptions of Orissa, Vol.I, Part-II,
pp.94-97.
2. Behera, S.C., Rise and Growth of Vaisnavism in
Orissa`, in Sidelights on History and Culture of
Orissa, pp.371-374.
3. Das, H.C., Cultural Development in Orissa, pp.68-
314.
4. Rajaguru, Op.Cit.
5. Rajaguru, Op.Cit.
6. Patel, C.B., Dynastic History of Nalas, pp.212-213.
7. Sahu, N.K., Utkal University History of Orissa, Vol.I,
1964, p.415.
75
8. Singh Deo, J.P., Cultural Profile of South Kosala, p.304.
9. Sircar, D.C., 'Progress of Vaishnavism, The History
and Culture of the Indian People, Vol.II, The Age of
Imperial Unity, Ed. R.C. Majumdar, Bombay, 1968,
p.439.
10. Rajaguru, S.N., Inscript ions of Orissa, Vol.IV,
pp.74-80.
11. Ibid, pp.130-137.
12. Ibid, pp.244-252.
13. Tripathy, Snigdha, Inscriptions of Orissa, Vol.VI,
pp.51-64.
14. Ibid, pp.65-124.
15. Singh Deo, J.P., Op. Cit., p.140.
16. Shrivastava, Mahesh Chandra, Sirpur (Hindi), p.39.
17. Rath, P.C., Saintala, The Journal of the Kalinga
Historical Research Society, Vol.II, Nos.2 & 3, pp.124-
125.
18. Panda, Sasanka Sekhar, Some Temple Ruins of
Kalahandi District, The Orissa Historical Research
Journal, Vol.XXXVIII, No.1 to 4, p.58.
19. Misra, Binayaka, Narasimhanath Stone Inscription of
Vaijaladeva, Indian Historical Quarterly, Vol.XII, No.1,
March 1936, pp.485-486.
20. Chandra, Pramod, 'South Asian Arts, The New
Encyclopaedia Britannica, 15th Edition, Vol.-27,
Chicago, 1991, p.781.
21. Panda, Sasanka Sekhar, Some Archaeological Remains
of Bolangir District, The Orissa Historical Research
Journal, Vol.XXXX No.1 to 4, 1995, pp.58-59.
22. Rao, T.A. Gopinatha, 'Elements of Hindu
Iconography, Vol.I, Part-I, pub. Indological Book
House, Varanasi, 1971 (2nd Edition) pp.132-134 ff.
23. Dash, Siva Prasad, Sambalpur Itihas, 2nd Edition, 1969,
pp.250-251.
24. Epigraphia Indica, Vol.XXXII, p.235; Orissa Historical
Research Journal, Vol.X, No.4, pp.1-11 ff.
Qtr. No.VR-23, Unit-6,
Bhubaneswar - 751001
76
Jayadeva a poet, musician and dance composer
made a unique contribution to the cultural ethos
of Orissa through his famous lyric Gitagovinda,
which displays a ravishing music, romantic milieu
and voluptuous imagery. Its impact is so profound
particularly in Orissa, that it has become the prime
prop of the Odissi dance which has received
international acclaim as a novel classical dance
form, more lyrical and graceful than the earlier
genre of Karnataki and Hindustani. Its impact is
astoundingly perceived in the art motifs whether
on the patta paintings or on the stones embellished
in Orissan temples. As an ardent practiser of
Srivaisnav and Nimbark schools of Vaisnavism
he extolled his Jagadisa Jagannath as Krsna-
incarnate, from whom has bodied forth
incarnations part icularly ten in various
dispensations .The poet in him yearned for
glorification of the Krsnaself of Jagannath in an
esoteric plane with a queer extended creative
imagination. Lest he would be misunderstood for
his intrusion into the spiritual realm of the
Parambrahman, he has made his stand clear from
the very beginning and exhorted the readers /
viewers to approach it in right perspective. His
hard conditions are:
(1) if you are in a state of blissfulness to
ruminate on divine sport.
(2) if you are sensible and curious to share
sensuous poetic experience. You can then only
Jayadeva : His Vision and Resolution
in Gitagovinda
Rajkishore Mishra
have the privilege of accessing to this sophisticated
treatise. Right from the preamble and the first
canto, he has been repeatedly voicing his concern
for the readers and emphasizing his view-points
that.
(i) It is an auspicious heightened music`:
Mangal ujjval gita (2/8).
(ii) It is strange and secret amorous sport of
Kesava rahah keli.
(iii) Here, the protagonist is manifestation of
sensuousness`: murttiman Srngar (3/8).
(iv) The lila or sport is to be enacted in the
individual mind : manasa nataniyam.
The poet reinforces his viewpoint that the
very purpose of this lyrical pastoral romance of
Krsna is to carve out a niche in the heart of an
admirer for godhead.
He has confessed with all humility
that while composing this text, he has been
transformed to that of an artful tender maid`
Haricaranasarana Javadeva kavibharati
komalakalavati Yuvatiriba (13/8).
The protagonist whom he depicts in the
mosaic of his imagination is a potent hero but with
some difference. In the Dasavatara hymn he has
at length portrayed the astounding feats of his hero
his valour, his mutability, his control over Time.
77
Space and various other dimensions. Such is the
hero of his who now volunteers himself to engage
in a vernal sport as suggested in the Srimad
Bhagavata of Krsnad vipayana Vyasadeva and
in some of the Purana which had made this theme
rather popular. What actually lacked in them was
its embellishment and transcendence to that of
the height of poesy and of literary artefact.
Jayadeva flourished at a time when the practice
of adding music to literature` was rather a novelty
and more so, in Orissa itself. Of course, two
centuries later, we find epics getting 'loaded with
assonances and alliterations for artificial rhythms
(becoming ) obsessed with a voluptuous brooding
on sex`.
Gitagovinda is enacted on a time frame
of thirty six hours which include two nights and a
day in the spring season. Love and consummation
of love is its predominant theme. God, the Creator
who could appear in different forms of physical
manifestations to protect the Universe, the Logos
in peril and the created beings from the teeth of
impending menace at various loops in time`-has
been most artistically and aesthetically chosen by
the poet as his epic hero. It was He who lifted a
hill in His little finger and held it aloft for a week.
It was He who held a discus in His little finger as
a powerful missile-automation to crush the Evil
and it was He who held a bamboo flute in all his
fingers to breathe into it the music of life and soul.
Kavireva Prajapatih - just like the
Creator. Jayadeva as a creative genius recreates
a world of his own and uses multiple colours to
paint his protagonist in his twelve cantos where
the hero emerges as Samoda (full of delight),
aklesa (without any sorrow), mugdha
(enraptured, snigdha (in a state of peace and
happiness), sakanksa (full of desire), dhrsta (a
bit silly and aggressive), nagara(in love), vilaksa
(bewildered), mugdha (enraptured), sananda
(full of joy), and finallysuprita (wholly pleased
and graceful). The protagonist uses his amorous
arm to effect complete subjugation of his main
character and almost summons him to prostrate
before his object of love. dehi
padapallavamudaram. This places Jayadeva as
the precursor of Gaudiya Vaisnavism which would
sweep Orissa four centuries later.
Like the autumnal rasaof Srikrsna in the
Bhagavata, Jayadeva here introduced Krsna`s
spring time sport in the light and shade of radiant
nature where the landscape intuitively becomes a
living character to lend its grace and charm and
revivification of various impulses. The 386 verses
which run through the artistry of 24 songs are the
outcome of matured literary craftsmanship and
an endowment of a most sublime vision. With
tremendous race of mind, Jaydev wriggles out of
his own snare which of course happens with most
of the master writers. The snare is a rainbow
snare- aninterplay of dictions which constructs and
deconstructs the little professed emotions. This
he achieves, probably because of his resignation
manasa nataniyam. A devout poet does not
necessarily tutor his mind to transcend the physical
plane. He does achieve it in a mystic mix of
religious experience and sublimation of gross
physical and sensory perceptions. A powerful
imaginative impulse animates and sweetens the
imagined objects, places and characters. This
helps him to achieve immediacy, progression and
silent eloquence. The opening verse 'meghei-
rmeduramambaram banabhuvah
syamastamala - druneih/maktam bhirurayam
tvameva tadimam Radhe grham prapaya etc.
thus sets the locale, the flux of time, the main
character who will gradually reveal its active
principles, the recipient of bliss and the suggestive
nuances. The principal character is not named
rather veiled .The seemingly matron (i.e. Radha)
now active will certainly turn out to be a passive
78
one as the romances glide along. This indeed sets
the tune in imperfect symmetry.
The poet immediately after this, humbly
retreats to his poetic confines where he exposes
his own interiorised mind which gets steeped in
the bounty of the goddess of Poesy (Vakdevata).
This transformation spurs him to delineate the
divine Eros of Vasudeva. Now, in a tranced state,
he is no more different fromVak-devata Sarasvati,
rather he is Jayadevaa-Sarasvati himself, just an
attending maid in the pleasure-paradise of
Madhava, of the Creator.
Such are the artistry , the craftsmanship.
the charmed diction, the inbuilt musicality, the
mellifluity, the lyrical and graceful embellishment
that prompted scholars world over to look
forward to its enactment and recital for a unique
blissful experience.
The text has been translated into German
by F.H. Van Dalberg, Friederich Ruckert, F.
Major and A. W. Riemenschneider, into English
by William Jones(1792), Edwin Arnold (1875),
George Keyt (1940), Duncan Greenlee, Barbara
Stoler Miller (1977) and by many Indo Anglians
and Indian translators.
It has been translated into Latin by
Cristianus Lassen, into French by H.Foucher
(1850) and G. Curtillier (1904) and into Dutch
by Faddegon (1932).
We do have a lot more translations in
Indian languages, a lot more commentaries in
adaptations authored by Oriya scholarsfor all
of which Orissa prides herself for volubility and
popularity that silences all conspired controversies
regarding the nativity of the poet. The inscriptions
of King Prataprudradeva engraved on the Jaya
Vijay doors of Srimandir in 1499 A.D. are
probably a glowing testimony to the marvel of
Gitagovinda which is Orissa`s invaluable and
inviolable treasure.
N1-A/27, Nayapalli,
Bhubaneswar-751015
79
Gitagovinda by Kaviraja Jayadeva (1147 AD) has
been accepted as the foremost lyrical work
(Gitakavya) in the history of Sanskrit Literature.
It was spread throughout India since its
introduction in the daily rituals of Lord Jagannatha
at Puri during the reign of Ganga King Narasingha
Deva-II (1278-1309 AD). Its unique artistic
composition, mellifluousness and sensuousness
had prompted many Indian scholars to compose
nearly fifty commentaries and sixty imitations.
Innumerable translations of Gita Govinda in
regional languages are also found in different parts
of the country. But Orissa has the distinctive
credit of having the first commentary, the first
imitation and the first translation of this immortal
work. The commentaries, translations and
imitations by scholars of Orissa are in brief
presented here for information of the scholars.
(A) Commentaries :
(i) Bhavavibhavini by Udayana Acharya
was the first commentary on Gitagovinda.
Udayana was the court-poet of Swapnesvara
Deva, the builder of the Meghesvara temple at
Bhubaneswar. Surama Devi, the sister of
Swapnesvara Deva, was the Queen of the Ganga
Emperor Raja Raja Deva (1170-1190 Ad). The
poet Udayana, younger brother of the famous poet
Govardhana Acharya, was also a contemporary
of Aniyanka Deva (1190-1198 AD) who is
Orissan Commentaries, Translations and
Imitations of Gitagovinda
Dr. Bhagaban Panda
referred to in Meghesvara temple inscription. He
was also the writer of the inscription of
Sobhanesvara temple which was built by
Vaidyanatha at Niali on the bank of river Prachi
near about 1170 AD. It is presumed that
Udayana, the first commentator of Gitagovinda
flourished during 1170-1198 AD.
The Bhavavibhavinitika by Udayana
was noticed in 1874 by Dr. F.Kilhorn. According
to Kilhorn, the manuscript contains 1000 verses
in 100 leaves each of which contains 10 verses.
The manuscript was in the possession of
S.Lakshman, a villager in Madhya Pradesh.
Unfortunately no step has been taken to discover
the same so far.
(ii) Sarvangasundari tika by Kaviraja
Narayana Das (1300 AD), a contemporary of
Narasingha Deva-II is treated as the earliest
commentary available in India. The Commentator
was the great grand-father of Visvanatha Kaviraj,
the author of Sahityadarpana. The importance
of this commentary is that it appropriately
interprets the significant and chronological verses
(1-4) of Gitagovinda and says nothing about the
association of Jayadeva with any royal court but
proves it clearly that Jayadeva has established his
superiority over four other contemporary poets.
The second thing that deserves
consideration is the clear interpretation of the line
80
Kinduvilva Samudrasambhava Rohini-
ramanena (VII-8) which definitely states that
Kinduvilva Sasana or the Brahmin village is the
birth place of Jayadeva where he flourished and
came into prominence. This explanation of the line
convincingly proves that the present Kenduli
Sasana near the Prachi river of Puri district can
definitely be identified with the Kinduvilva Sasana
of Gitagovinda.
Thirdly this commentary is also very
important to identify the interpolated verses of
Gitagovinda which have been included by Rana
Kumba in his Rasikapriya commentary
composed about 1450 AD. The commentator
Narayana Dasa has accepted 77 verses of
Gitagovinda and composed his commentary on
76 verses leaving the last verse at the end. So it is
presumed that about 18 to 20 verses more have
been added to the original text either after or
before the composition of Sarvanga Sundari and
the Rasikapriya commentary of Gitagovinda.
(iii) Srutiranjanitika by Pandit Laksmana
Suri alias Laksmidhara (1568-1580 AD) of
Krishna district in Andhra Pradesh, is a scholarly
commentary on Gitagovinda. The commentator
has followed the footprints of Kaviraja Narayana
Dasa and has commented on 73 verses in all. The
Srutiranjanitika was very popular in Andhra and
Orissa for its learned interpretations. The
commentator has emphasized on the tradition and
culture of Orissa in his above commentary.
(iv) Sarvangasundaritika by Dvija
Dhananjaya (1650 AD) was very popular in
Orissa as its manuscripts are found from several
places. It is a more elaborate and exhaustive
commentary in which 75 verses have been
commented and the order of the verses has been
changed. According to the colophon, writing of
this commentary was completed on the 28
th
August, 1688 AD.
(v) There is anot her commentary of
Gitagovinda by Vamshi Dasa, the manuscript of
which is preserved in the Parija Library of Utkal
University.
(vi) Sarvangasundaritikaby Krishna Dasa
(1750 AD) is the third work in the same name
and is called as Sarvankasa in its colophon. The
writing of this commentary was completed
between 2.9.1701 and 28.8.1702 AD. This
commentator can not be confused with the famous
Gosvami Krishnadasa Kaviraja (1615 AD) of
Bengal as he clearly mentioned the Anka year of
Gajapati Divyasingha Deva, the king of Khurda.
(vii) Rasikarangadatika by Laksmana
Bhatta, a resident of Puri, is an important
commentary on Gitagovinda. The writing of this
tika was completed in 1742 AD. He has also
written a Kavya named Sri Krishna Lilamrita
in Oriya which was completed in the 53
rd
Anka
year of Gajapati Birakeshari Deva in 1778 AD.
(B) Translations :
(i) Oriya Gitagovinda : The translation of
Gitagovinda into Oriya poetry by Dharanidhara
Dasa (1520 AD) was very popular in Orissa. This
has been printed several times. The translator has
divided his work into sixteen Chhandas and has
used the Ragas and Vanis which were very much
in use in the beginning of the 16
th
C.A.D. The
language of this translation is very simple and
melodious.
(ii) Rasavaridhi : The translation of
Gitagovinda in Oriya poetry by Vrindavana Dasa
(1610 AD) is named as Rasavaridhi. It is divided
into 20 Chhandas, and contains translations of
72 verses of Gitagovinda.
(iii) Amritasagara : The poet Dinakrishna
Dasa (1641690 AD) has composed the
Amritasagara in 45 Chhandas on the theme of
Gopalila of the 10
th
Skandha of the Bhagavata.
81
The poet has depictedRasalilaof Radha-Krishna
in 20 Chhandas (13
th
to 32
nd
) in which the
translation of the entire Gitagovinda has been
incorporated.
(iv) Arthagovinda : This is a poetical
translation of Gitagovinda by Vajari Dasa of
Ashok-Kholgarh. The translation has been
composed in Bhagabata-Vritta and divided into
27 Chhandas. The author has accepted 72 verses
in all. The translation was a contemporary of
Gajapati Mukundadeva-I (1559-1689 AD) of
Khurda Kingdom. The work of translation was
completed in March, 1674 AD.
(v) Oriya Gitagovinda : This is a translation
of Gitagovinda in Oriya verse by Uddhava Dasa,
a blacksmith who may be placed between 1720-
1740 AD.
(vi) Gitagovinda in Oriya prose : This is a
translation-cum-commentary on Gitagovinda in
Oriya prose by Jagannath Mishra who may be
identified with the author of Rasa Kalpadruma.
He was a contemporary of Gajapati Harekrishna
Deva (1715-1719 AD). His disciple was
Uddhava Dasa, a little known poet of Orissa.
(vii) Prose Gitagovinda : It is known from
the colophon of the manuscript containing the
Oriya prose translation of Gitagovinda that Ananta
Rath Vanibhusan wrote this work at the request
of Divyasingha Deva-I (1688-1716 AD) the ruler
of Khurda territory.
(viii) Balabodhini Tika : It is a prose
translation of Gitagovinda by Vasudeva Mishra
known as Balabodhini tika. No authentic
information is available about the author of this
tika.
(C) Bi-Lingual Prose Translations :
(i) Vasanta Rasa : This is a Bengali
translation cum imitation of Gitagovinda by Pindika
Srichandan of Sanapadara, Begunia of Puri
District. He was a contemporary of Gajapati
Divyasingha Deva-I of Khurda. Though it was
written in Bengali some sweet Oriya songs have
also been incorporated at different places of the
text.
(ii) Vasanta Krida Samujjvala Rasavalli :
This is also a mixed Oriya-Bengali translation of
Gitagovinda by Shyama Sundar Bhanja, the
Zamindar of the then Haladia Estate near Khurda
in the district of Puri. The poet flourished in the
first part of the 19
th
Century AD.
(D) Dasavatara Stuti in Gitagovinda :
Besides, the translations Dasavatara
Stuti of Gitagovinda by Chaitanya Dasa and
Bhikari Dasa are also available in Orissa. These
two authors may tentatively be assigned to the
early part of the 19
th
century. It is also known
that one Trilochana Dasa, a barber by caste wrote
a learned commentary on Gitagovinda in Oriya.
But unfortunately the manuscript of this work has
not yet been available to us. There are other two
Oriya works named Sangitagitagovinda by
Gourahari Parichha and Gopinatha Dhir available
in Orissa. These two have been composed in the
early part of the present century.
(E) Imitations :
From the traditional account of Jayadeva
it is known that after the introduction of singing of
Gitagovinda by Jayadeva in the temple of Sri
Jagannath the Raja of Puri tried to introduce his
own work named Gitagovinda replacing that of
Jayadeva. But he was disappointed that his work
was discarded by the Lord. So when he wanted
to commit suicide in utter despair, Lord
Jagannatha out of compassion for his royal
devotee took out 14 verses of king`s work and
included them in Jayadeva`s work by which the
king was comforted.
82
The last verse of Rasikapriya
Comment ary on Gitagovinda by Rana
Kumbhakarna contains a veiled reference to a
king Purusottama who was the author of this first
imitation of Gitagovinda. So the first imitation was
probably written by Bhanudeva-II (1307-1328
AD), a great devotee of Govinda, a great scholar
himself and also a patron of scholars. Hence the
first imitation of Gitagovinda was written by the
king of Utkal before 1460 A.D. and after 1317
A.D.
(ii) Abhinava Gitagovinda : This was
written by Kavichandra Divakar Mishra and
attributed by the poet to his patron Gajapati
Purusottama Deva (1466-1497 A.D) as a sign
of gratitude. This work has been divided into 10
cantos, 72 Chatuspadi Prabandhas and 150
verses. This was published by the Department of
Culture in 1977.
(iii) Jagannath Vallabha Nataka : This is
a drama in five acts by Ray Ramananda Pattnaik,
Governor of the Sout h under Gajapati
Prataprudra Deva (1497-1535). The work
contains 21 songs composed in imitation of
Gitagovinda in different ragas.
(iv) Rukmini Parinaya : This is a small
work in six cantos composed by Narayana
Bhanja Deva (1525 AD), the king of Boudh. The
theme of the work is based on the marriage
episode of Rukmini and Krishna described in 12
Chatuspadi Prabandhas and 40 verses
composed in different ragas and metres
respectively. This has been published by the
Department of Culture Government of Orissa in
1974.
(v) Radhamadhava Lila : This is an
imitation of Gitagovinda by Krishna Dasa Badjena
Mohapatra, a court-poet of Gajapati Mukunda
Deva (1559-1568 AD) and the author of Gita
Prakasa, a treatise on the science of music. This
has been referred to in his above work. But
unfortunately this work has not yet been
discovered.
(vi) Radha Krishna Lila : This is a work
by Bananagar Harichandan (1600 AD) and
quoted by Haladhara Mishra in his work named
Sangita Kalpalatika`. The poet Haladhara was
a court poet of Gajapati Narasingha Deva (1621-
1647 AD). But his work which still remains
unknown to the scholars can be glimpsed through
a song quoted in the above work.
(vii) Gopa Govinda : Kaviratna Purusottama
Mishra, a court-poet of Gajapati Jagannath
Narayan Deva (1648-1664 AD) has referred to
his Gopa Govinda and to Gopa Govinda tika
in his Sangita Narayana composed in about 1650
AD and attributed to his patron mentioned above.
This Gopa Govinda has also been referred to in
Natya Manorama and Sangitarnava
Chandrika by Raghunath Rath. But the work
Gopa Govinda has not yet been discovered.
(viii) Mudita Madhava : This is a work of
Satanjiva Mishra, the father of the poet Anadi
Mishra (1650 AD). It is a Gita Kavya written in
imitation of Gitagovinda depicting the Lila of
Radha Madhava. But the manuscript of this work
has not yet been discovered.
(ix) Mukunda Vilasa : This is a work on
Radha Krishna Lila composed by Jatindra
Raghuttama Tirtha (1620 AD) of Puri in 1667.
This work has been divided into 12 cantos, 38
songs and 208 verses composed in various ragas
and metres respectively. This has been published
by the Department of Culture, Government of
Orissa in 1988.
(x) Sivalilamrita : This is a work on divine
lila of Siva and Parvati composed by Agnichit
Nityananda (1650 AD). It gives a detailed
83
description of Saiva Kshetra Bhubaneswar. The
work has been divided into 10 cantos, 42 songs
and 293 verses composed in different ragas and
metres respectively. This has been published by
the Department of Culture in 1978.
(xi) Sri Krishna Lilamrita : This is also
composed by Agnichit Nityananda on Radha
Krishna Lila. The work has been divided into 7
cantos, 38 songs and 181 verses. This has also
been published by the Department of Culture,
Government of Orissa in 1986.
(xii) Sangita Chintamani : This is an
imitation of Gitagovinda by Kavichandra
Kamalalochan Khadgaray (1775-1793 AD). But
the work has not yet been published.
(xiii) Gitamukunda : It is another work by
Kamala Lochana Khadgaray. This has been
divided into 14 cantos. But this work has not yet
been published.
(xiv) Gita Sitavallabha : This is a work on
Ramayana by poet Sitikantha (1775 AD) of
Ganjam district. The work has been divided into
12 cantos, 24 songs and 75 verses. It is a true
imitation of Gitagovinda in which the opening lines
and words of Gitagovinda have been preserved.
This was published by the Department of Culture,
Government of Orissa in 1985.
Besides, many other Sanskrit and Oriya works
and various arts of Orissa have been influenced
by the sweet song and lucid language of
Gitagovinda. This proves the immense popularity
of Gitagovinda of Jayadeva through the ages. It
is seen that at least one palm-leaf manuscript of
this work is in the manuscript collections of each
respectable family as well as in the libraries of
Mathas, temples, and Bhagavatagadis
throughout the State.
In the manuscript library of the Orissa
State Museum, Bhubaneswar, more than three
hundred palm-leaf manuscripts of Gitagovinda
collected from different parts of Orissa, have been
preserved. Some of them have been beautifully
illustrated. It was a practice to present the palm-
leaf manuscript of Gitagovinda to the bride at her
marriage. Hence, it is needless to say that the cult
of Gitagovinda remains as a living tradition of
Orissa for the last eight hundred years.
Editor (Retd.),
Directorate of Culture,
Orissa, Bhubaneswar.
84
A number of popular folk-lores are prevalent in
Orissa on Jayadeva out of which some are
narrated below.
Once an old woman was singing in a
melodious voice the sweet verses of Gitagovinda
while plucking brinjals in the thorny brinjal field at
the last quarter of the night. Her sweet voice
enchanted the senses and was most pleasing. All
of a sudden there came floating rhythmically in
the air sweet and charming notes of flute from the
distant fields in perfect harmony with the singing
voice of the woman. Surprised indeed was the
old woman and on looking back she saw a lovely
and lustourous youth excelling the blue clouds in
colour and complexion and clothed in yellow
apparel following her dancing and playing upon
the flute rhythmically with the song. The sweet
fragrance of musk and sandal paste filled the
surroundings. Who is the youth ? The voice of
the old woman was chocked in utter astonishment.
The heavenly youth disappeared from sight. The
old lady returned home with strange emotion.
In the morning the priests on opening of
the door of Shri Jagannath temple, observed with
great wonder and sorrow the yellow apparel of
Lord Jagannath stuck with thorns and reported
the matter to the emperor Gajapati Prataprudra
Dev. The emperor giving up food and drink
surrendered himself to the Lord and begged for
Sri Jayadeva in the Folk-Lore of Orissa
Nirupama Tripathy
his compassion. At night Lord appeared before
him in dream and told O` king, I can not control
myself on the throne the moment the sweet melody
of Gitagovinda reaches to my ear. Being fascinated
by the song of the old lady, I was following her in
the thorny brinjal field. The royal councellors
searched for the old lady and the Emperor
received detailed information from her. Since that
day singing of Gitagovinda was forbidden at public
places and it was given the status of National
Anthem in Utkal. There is a legend prevailing
among the Oriyas that if one sings Gitagovinda
standing, Lord Jagannath listens to it in sitting
position and one sings it sitting He listens to it in
standing position. Even today the common house
holders of Orissa sing the melodious verses of
Gitagovinda every morning and evening in their
prayer.
It was the period of Muslim Rule in
Kalinga. A Muslim young cavalier, while riding
on the way, thought out of curiosity that the Hindu
God Jagannatha appears if one sings Gitagovinda.
Thinking this, he rode along singing from
Gitagovinda. His voice was very appealing. But
where is Lord Jagannath ? Naturally the young
soldier thought that Lord did not appear before
him perhaps because he was a man of different
community. Suddenly there came floating through
the air the sweet and thrilling notes of flute. It
seemed as if the flute player went running after
85
him keeping face with the speed of the horse. The
youth was spell bound and looked around but
could see none. He again sang Gitagovinda. What
a wonder ? The charming flute notes came again
through the air. The Muslim youth stepped down
and kneeling down, offered his sincere and
devotional reverence to that invisible power.
A cobbler used to sharpen his tools for
cutting leather on a piece of polished stone in his
foot wear shop. He was a very pious man and a
great devotee of Lord Jagannath. While working,
he was chanting in a sweet voice the verses of
Gitagovinda. A Brahmin having gone to the
cobbler`s shop for a pair of shoes, observed the
sharpening stone to be a beautiful Salagram, the
Brahmin took it away from the cobbler and
worshipped it at his home. But at night the Lord
appeared in dream and told the Brahmin, O`
Brahmin, give back mySalagramto the cobbler.
I am always fascinated by the cobbler`s melodious
recital of Gitagovinda. On receipt of the divine
command in dream, the Brahmin returned to the
cobbler with the sacred Salagramworthy to be
worshipped in the temple. Thereafter the cobbler
installed the Salagramat his cottage and while
worshipping it daily he was chanting sweetly to
the Lord, the Gitagovindam.
References :
Jayadevaa O Gitagovindam(Oriya)-S.Sharma
Jayadeva - Prafulla Chandra.Tripathy
Qrs. N0.-2 RA-11/S.D.S.Flat,
Unit-IX, P.O-Sahidnagar,
Bhubaneswar.
86
The Gitagovinda (GV.) of Jayadeva is the first
lyrical kavya of Orissa in Sanskrit and also
regarded as the famous lyrical poetry in the history
of Sanskrit literature. The legends and traditions
connected with him clearly shows that Jayadeva
was born in the Brahim Sasana of Kenduvilva on
the bank of river Praci in the district of Puri. The
village has rich traditions of historical importance
and there are many relics of brick and stone
temples having various images of Ambika,
Madhava, Laksmi-Nrusingha and Yogesvari etc.
which date back to a period between 9th and
13th century A.D. Hence, we find many
sculptures belonging to Sakta, Vaisnava and Saiva
cults. His father's name was Bhojadeva and
mother's name Ramadevi. He was a contemporary
of king Kamarnava Deva ( 1147-1156 A.D.)
and Raghava Deva (1156-1170 A.D.), the sons
of Chodagang Deva of the Ganga dynasty. During
the reign on this dynasty, the monarchs patronized
art and architecture, religion and literature. In this
paper we shall focus on the socio-cultural aspect
as reflected in GV.
Gitagovinda
Gitagovinda is considered as a lyric poetry
which is unique in its style from the view point of
its melodious songs based on the divine love of
Radha and Krishna. It has twelve cantos. twenty
four songs and seventy-two verses. In the
beginning of the GV. Jayadeva has hinted upon it
as a Pravandha Kavya.
3
It has more musical
contents with visual possibilities which may be
called as a Yatra type of performance composed
in Odissi styles depicting the cult of Radha and
Krishna. The subject matter of the work is
definitelty a sanskrit lyrical drama dating from the
12th century A.D. This might have been through
the local form of natya style which is called as
lila, desi-natya or gitinatya depicting the love
of Radha and Krishna coming from the Puranic
source like Srimad Bhagavata, Rasapancadhyayi
etc.
Madhava Cult
Jayadeva was a great devotee of Madhava.
The historical background of the subject matter,
we see that he introduced Radha Madhava cult
along withdasavataracult bringing from the great
Puranic tradition and presenting it in a more
stylistic manner. His god is Lord Krishna, the
Madhava and hence he starts his work with the
benediction to Radha-Madhava.
Poet Jayadeva was a devout worshipper
of Madhava.
4
GV is virtually a historical text
unveiling the Radha-Madhava or Radha Krishna
cult by describing through his poetic compositions.
The Madhava cult is historically proved to be in
exitence in Orissa from seventh or eighth century
A.D. This got historical importance and gained
Socio-Cultural Life as Reflected in
Jayadeva's Gitagovinda
Dr. Subash Chandra Dash
87
momentum from the time of Jayadeva.
5
This was
so because, his birth place, the Prachi Valley is
full of Madhava temples of the Pre-Ganga
periods, where we get twelve famous Madhavas
as one visits the compound of the Sobhanesvara
temple of the Niali Sasana on the river bank of
Praci which is very near to the Kenduli Sasana.
So, It is clearly evident that Jayadeva was much
devoted to the Madhava cult and deeply
engrossed himself in the devotional worship as a
result of which such a beautiful devotional song
he could be composed by him and present through
his GV.
Avataras
In the GV. we get a better picture of socio-
cultural life of the then society. Jayadeva
popularised the Radha Madhava cult and praise
towards Krishna or Vishnu came spontaneously
the dasavatara tradition. These ten avataras or
incarnations was much famous in Orissa during
his time and even before his time. These
incarnations starting from Fish. Tortoise , Boar,
Man-lion, Vamana, Parsurama. Rama, Balarama,
Buddha and Kalki shows process of evolution.
The concept of incarnation is quite interesting to
see the gradual development of the process of
evolution from the water. All these are different
avataras of Lord Vishnu who is all in all, the
Almighty who takes different forms in order to
come to the earth when there is crisis. Both Visnu
and Krishna are depicted differently by various
names like- Madhusudana, Madhava, Narayana,
Damodara.
7
this shows the great influence of
Puranicliterature and particularly Brahma-Vaivarta
Purana and Srimad Bhagavata on GV. The
Madhava cult as discussed earlier refers to the
essence of Vaisnava philosophy. This Vishnu or
Krsna was later identified as Jagadisa or Jagannath
of Puri and frequently mentioned as Jaya Jagadisa
Hare.
Yatra Tradition
The GV has a unique feature of melodious
presentation in drama. In Orissa, Yatra or various
Lilas were performed at that time and even now,
like Krsnalila, Ramalila. These are regarded as
the traditional theatre forms of Orissa. GV is a
dramitized version of one day and two nights
incident between Krsna and Radha which is
enacted from an evening; continuing to the end of
next night and again continuing throughout the
day. It is clearly seen that the whole incident is
visually represented through the dance
performances of his beloved wife Padmavati. The
poet wanted her to dance to the tuning of his songs
in accordance with the praise of his Lord
Jagadisa-Krsna or Jagannath. This dance nrtta
or nrtya is combined with body and mind which
can be compared with that of abhinaya of the
present Odissi dance form.
Society
The social status revealed at that period
through GV. is noteworthly. There are mention
about various types of resorts like kunjas, viz:,
Latakunnja, Kunjanilaya, nibhrtanikunja,
banjultakunja, etc. These places were used
generally for sports and love-making or meeting
place of nayaka and nayika. The whole incident
of love takes place on the bank of the river
Yamuna, inside the Tamalakunja. This situation
is charged with romantic scene with the sweet
fragrance coming from the creepers like madhavi,
malati, madhu, kesara, kadamba, tamala,
amra and asoka flowers. Both Krsna and Radha
appear with her friend on the stage depicting
various moods. The story is being presented
through twelve chapters with melodious song.
Caste
In GV. we find several types of varnas
mentioned viz, Brahmins, Ksatriyas, Surakula,
88
'Gods of high order.' Yadukula (cowherds),
Candala, abhira (cowherds) etc. The (sages)-
Munis were highly respected in the society. The
dancers were regarded as a separate type of sub-
castes called vivudha Jauvata' temple-maids.
8
Beauty
As the GV.describes the sweet love of
Radha and Krsna, the beauty of men and women
is also narrated with various costumes. The
application shades of colour viz., white, blue,
yellow, golden and red are seen. The ornaments
are avatamas, a peacock- feathered head girdle
rounded like a lotus type'; manjira, nupura, 'foot
ornaments'; kinkini 'waist-belt' which produces
sounds, kundala'ear-ring; bangle etc. Along with
various garlands, ornaments and decorations of
different parts of the body are often mentioned
like- tilala, alaktaka red colour paint on the feet'.
Kajvala 'collerium for eyes', sandal paste and
kasturi for breast are also used as decorating
materials. Various paintings also find a place there
in GV. like that of lovers and beloved which were
done with the help of kajvala, kasturi,
kumkuma, alaktaka and red colour. The body
painting was also done and frequently women
used to paint their breasts with sandal wood paste
and leaves. They also used to have decorated
their body with perfumes like - katamani 'water
mixed perfumes'. orgamada and malataraja
'camphor powder. Both Krsna and Radha are
shown as fine examples of ideal beauty of the then
society. Regarding this, there are very charming
descriptions throughout the text. Various gems and
stones are also mentioned like- mani, nagamani,
marakatamani, which were adding beauty to the
nayaka and nayika. To sleep, the beds of various
types are seen viz., kusumasajya 'flower bed',
sajalanalinidalsilitasayana 'fresh lotus bed' and
kisalyasajya 'tender leaves bed.' As the love
affair is described in a lucid style, Jayadeva
attributes takes the sexual pleasure to the high
standard which is uncomparable. Various
narrations regarding amorous pleasures (sports)
are described like applying decorative elements
to both and getting pleasure out of it. In love affair,
man and women are inseparable, hence, Jayadeva
describes that the family life should be such that
nobody can separate one from the other. Hence,
conjugal life also gets a better place with high
stature and treated as ideal with full surrender.
Various Deities & Demons
As we get the influence of Madhava cult,
the name Krsna is occurring many times. But we
also get names of other deities viz., Hara,
Kandarpa, Siva, Vasava, Indra, Candra, Dinamani
'Sun', Asvinikumara, Kamala 'Laksmi', Rohini
'Concert of Balarama'. Besides this deoms are
also find a place. those are- Dasamukha,
Madhukaitabha, Hiranyakasipu, Kesi, Murasura,
Putana, Bala Sambara, etc. As various avataras
are mentioned so also related demons associated
with them are also described. The influence of
Puranas like Bhagavata, Harivamsa and epic
Ramayana cannot be denied.
Nature and Environment
GV. mentions love as the main sentiment
and in order to have it more sucessfully, Jayadeva
mentions various forests, groves, flowers,
mountains, clouds, trees, and creepers frequently.
The river Yamuna is the place near which all such
natural surroundings are mentioned. Those are
Vrndavana, Malayavana, Mrgakanana,
Yamunapulinavana, having trees and creepers like
amra, asoka, kadamba, tamala, vetas,
candan, rambhaphala, kendu, vilva, madhavi,
ketaki, vakula, kunda, malli, malati, etc.
11
The
birds and animals also are seen to be interesting
which find a prominent place viz., pika,
cakravaka, madhukara, marala, valaka,
karabha, sardula, makara, mrga, etc.
89
Cultural Aspects
The influence of the Radha- Krsna theme
dominated all sections of people of the State of
Orissa as it is seen in GV. It is a masterpiece of
literary composition of a great poet who laid much
emphasis of prema and bhakti endowed with
sweet, simple and melodious words and remains
still unparallelled in the entire Sanskrit literature.
As the text is divided into 12 cantos, 24
prabandhas or songs and 77 (72) verses, Out
of that the first ten prabandhas contain eleven
and five stanzas respectively. However , the rest
22 prabandhas contain eight stanzas each which
are called astapadis. In the text, Jayadeva has
mentioned about the names of ten ragas viz.,
Malava, Gujjari or Gurjari, Varadi, Karnata,
Bhairava, Vasanta, Desi or Desi Varati,
Desyaka.
12
As it is a lyrical poetry, music and
dance are very significant in nature through out
the text. The whole gandharvakala is very much
depicting the social life and customs of the society.
The musical instruments mentioned by Jayadeva
are- bansi 'flute', tala, benu, karatala, dindima
'drum', nupura 'bangle' creating sounds, kinkini
(waist-girdle creating sound).
Lord Krsna in his usual style uses a circular
peacock feather on his head, garland of various
flowers around his neck, bangles on his wrist, with
flute in his hand. The GV. tradition has influenced
the life style of the people of Orissa.
13
The palm-
leaf manuscripts of the text have been deified and
worshipped as Lord Jagannath or Lord Visnu.
Hence there are a number of GV. Manuscripts
available in Orissa. Not only that the GV. tradition
has influenced the Oriya literature much that the
Rasalila or Krsnalila became the subject matter
of many Oriya poets andpremaalong withbhakti
took the same line of the GV. in its rasaandbhava
srngaraperfectly. Hence we get many immitations
of GV. in lines in the Oriya literature. The singing
and dancing of GV. was a tradition widely
accepted and linked much to the Sri Jagannath
cult of Purusottama Ksetra, Puri. There are also
many illustrated palm-leaf manuscripts available
in the collections of Orissa State Museum, which
speaks volumes regarding the popularity of art,
music, dance, painting depicting the Radha-
Madhava cult and dasavatara illustrations.
14
Not
only in India but outside also we find such
illustrated manuscripts which have been widely
circulated. The GV. tradition was so popular in
Orissa that it was immitated afterwards and various
texts having the same name also were composed
viz., Abhinava-Gitagovinda of king Purusottama
(1480 A.D.),Gita-Gauisa or Gita Gauripati of
Bhanudat ta of Mithila (1320 A.D.);
Jagannathavallabhanataka of Raya
Ramananda (1500 A.D.), Sringara Rasananda
of Vithaleswar (1530 A.D.), Mukundavilasa
Mahakavyam of Jatindra Raghunatama Tirtha
(1667 A.D.) and many more.
Jayadeva influenced the Vaisnava tradition
of Orissa in particular and other states in general.
For popularisation of the Radha-Krsna cult many
Gopinath temples were irrected in Orissa. The
GV. also institutionalized the Devadasi tradition
in which a woman was fully dedicated to perform
dance and sing devotional songs inside the temple.
This Devadasi tradition became very much
connected with the temple culture of Orissa and
other states as well, hence in inscriptions we get
such references. In Orissan temple we get dancing
places called natamadapa or natamandira, a
special structure for dance performance. The
Devadasi tradition was much advocated by
Padmavati, the wife of Jayadeva, who was
dedicated by her father to Lord Jagannath as
Devadasi from South India.
From the above discussion we may
conclude that -
90
i) The GV of Jayadeva is so popular and
connected with the socio- cultural life of
Orissan people, it cannot be separated from
the tradition of Orissa.
ii) Jayadeva popularised Vaisnavism through
Radha-Krsna cult in Orissa no doubt, but
influenced other states like Bengal very
much.
iii) The birth place of Jayadeva is now not a
problem to be argued as he belongs to
Orissa and the Praci Valley tradition speaks
a lot about him.
iv) Moreover, Orissan art, music, dance and
literature have been much influenced by
Jayadeva's GV. Which is seen in the life
patten of Orissan people.
v) The GV can be very well accepted as a
source book on art, music, dance, drama,
history and painting.
Notes and References
1. Jagannathapuri-prante dese caivotkalbhidhe
Kenduvilva iti khyato gramo brahmaoasankulab/
tatr otkale dvijo jato Jayadeva iti srutah
vidyabhyase-rata santah purusottamapujakah/
Sri Jayadeva Caritam, verses 2-3
2. GV, Canto 12, And also Parasara is the friend and
relative of Jayadeva.
3. GV, Canto 1, verse 2.
4. The Madhava cult is very famous in Orissa and
it is a name of Lord Visnu which is also very
popular in Orissan temple Art and Architecture.
This name occurs frequently in the text GV, than
any other names of Lord Vishnu.
5. The birth-place of Jayadeva, Kenduli Sasana has
many more Brahmanical sculptures like-
Gopinatha, Laksmi-Narasingha, Laksmi-
Narayana, Vishnu, Madhava and Candi etc.,
which show the influence of Vaisnavism and
Saktism during 9th to 13th century A.D. There
are many ruined temples made of bricks which
are of 9th century A.D.
6. The last Suryavamsi Gajapati Prataparudra Deva
(1497-1535 A.D.) who was a great admirer of the
Gitagovinda established a Brahmana Sasana
near the Kenduli Sasana for the settlement of
the Brahmins of the locality which still exists by
the name of Prataprudrapur Sasana'. Gitagovinda
Mahakavyam, Introduction, p. 22.
7. Out of those, the name Vanamali is very popular
and hence parents like to name their son as
Vanamali (in Oriya Banamali) in Orissa. The
history also proves the fact that there is a temple
where the Lord is Vanamali near Jayadeva's bith-
place." At a short distance from the Kenduvilwa
Sasana, still stands Vanamalipur Sasana, the
abode of Vanamali, on the left bank of the
Kusbhadra river, who was emotionally described
as 'Candanacarcitanilakalevara-pitavasana
vanamali' by the saintly poet in the first canto
of his work".
The Gitagovinda Mahakavyam, p. 24
8. Vivudhayauvata - is a caste a temple-dancers
GV Canto 10.
9. The mention of various names of ornaments
like- kundala, nupura, rasana, manjira, and
hara etc. are very commonly used by the dancers
of Orissa and also are known by the same name
in regional Language too.
10. Vrndavana vipina parisara parigata Yamuna-
jalapute (GV.1.3.7) where Jayadeva composed
this kavya. GV in order to recollect the name of
Lord Hari and there is a river called Yamuna in
the district of Puri. Hence, we get Yamuna-
pulina-vana in the sevent h canto, the
Vetasavana (forest of canes) is abundant in the
district of Puri also.
11. The rural Orissa have these trees and plants
plentily in number.
12. These ragas find an unique place in the Odissi
songs of oriya literature.
13. The GV.(1.4) quotes Govardhanacarya who is
regarded as an Orissan author pr oved
historically ( 11th century A.D.) and brother of
Udayana and Balabhadra. of GV. ed. by
Dr. Bhagavan Panda, Introduction, p. 50.
91
14. The Dasavatara Paintings which is a common
painting in the Orissan Art is very prominent
and famous in the palm-leaf, Ganjapa and
Patacitra paintings of Puri district of Orisa which
is still a common prevalent practice.
Bibliography
1. Sri Gitagovinda Mahakavyam with both the
commentaries.
2. Sarvangasundari and Srutiranjani, Ed. by Dr.
Bhagavan Panda, Directorate of Culture, Orissa,
1985.
3. Sri Jayadeva O Sri Gitagovinda (Oriya), by K.N.
Mahapatra, Kedarnath Gavesana Pratisthan,
Bhubaneswar, 1986.
4. Kaviraja Jayadeva carita by Candradatta, Ed.
by Dr. Bhagavan Panda, Rastrabhasa Samavaya
Prakasana, Rastrabhasa Road, Cuttack, 1986.
5. History of Orissa (Hindu Period) by Dr. K.C.
Panigrahi, Kitab Mahal, Cuttack 1981.
6. Mahakavi Jayadeva O Gitagovinda (Oriya), by
Dr. S.N. Rajaguru, Santosh printers, Behampur,
1995.
7. Sri Gitagovinda Alocana, by Pt. Nilamani
Mishra.
8. Souvenir on Sri Jayadeva, Ed. by Dr. N.K. Sahu,
The Jayadeva Sanskrutika Parisad, Bhubaneswar,
1968.
9. History of Sanskrit Poetics by S.K. De, Firma
K.L.M. Pvt. Ltd., Calcutta 1988.
10. A Study on the Imitations of Gitagovinda by
Prof. Banamali Rath, Berhampur, 1984.
11. Little Known Aspects of Orissa Culture, Vol.II,
by K.N. Mahapatra, Kedarnath Gavesana
Pratisthan, Bhubaneswar, 1989.
Department of Sanskrit
Utkal University,
Bhubaneswar- 751004
92
Verily, Jayadeva was the last of the ancients and
the first of the moderns of the Indo-Aryan
literature. His rare poetic creation Shree
Gitagovinda is a kavya of world eminence. He
flourished in the 2nd half of 12th Century A.D.
during the regime of the Ganga Rulers of Orissa.
On the basis of discovery of a copper plate grant
at Kenduli Village i.e. ancient Kendu Vilva, it has
been conclusively proved that Jayadeva was born
in Orissa at Kenduli Village on the bank of ancient
Prachi Valley. His ancestry and life history is
shrouded in mystery. His name comes at the last
among the series of classic poets of Sanskrit like
Harashadeva, Bharavi, Bhagabati, Somadeva,
Bilhana and Sriharsha. Through his single work
the Gitagovinda he became comparable to great
poet Kalidasa. He has articulated the erotic love
of Krishna and Radha in sublimated idiom giving
a mystic and spiritual aura. His Gitagovinda
obtained the status of a religious work as he was
a saint poet to all sections of the people right from
12th Century A.D. Stories about him have
become the part of devotional romance which has
exalted the life of commom man.
In the legends of mediaeval Vaisnavism,
there are legendary accounts of Jayadeva. Some
of them do not have historical connotation. One
Jayadeva has been depicted as a great Vaisnava
saint prior to Guru Nanak by the Shikhs. This
indicates that Shikhs have accepted Jayadeva in
Jayadeva : The Legendary
Poet of Orissa
Dr. C.B. Patel
various Sanskrit literature. Excepting the poet of
the Gitagovinda nothing more is known about other
Jayadevas. We find one Jayadeva who has
aothored a series of aphorisms on metrics.
The opening verse of the Gitagovinda is
exhilarating and enchanting. The composition of
words is unique:
Meghair meduram ambaram, vana-bhuva,
syamas-tamala-drumair :
naktam; bhirur-ayam, tvam-eva tadimam,
Radhe ! griham prapaya;
ittham Nanda- nidesatas-calitayoh
pratyadhva-kunja-drumam,
Radha-Madhavyor jayanti Yamuna-kule
rahah-kelayah.
Because of the lucid style of composition,
Shree Jayadeva has earned a niche in the hearts
of all.
As gleaned from the pages of history, the
historical Jayadeva was infact a secular poet of
love and romanticism, while Jayadeva the saint
and mystic poet of love was a devotee of Krishna.
This dual character of the poet is reflected in
various verses of Geeta Govinda. The 26 verses
of Jayadeva which are quoted in the Sadukti-
Karnamrita are indicative of the wide range of his
poetic interests and achievements which were
confined to both love and eroticism. There is an
93
undercurrent of Vaisnava faith and devotion in his
articulation. Literary flavour is predominant in his
work in the diction of Sringara i.e. love and love
play.
His fame spread over the whole of India
rapidly during his life time because of the lucidity
of the composition. His work satisfied the literary
men both in Sanskrit and vernacular languages.
Legend and romance are the old Hindu
renaissance through Bhakti Movement. This was
presented in enchanting manner in the Geeta
Govinda. For this, in a short span of one hundred
years of its existence we find a verse being quoted
as a benedictory invocation in an inscription in
distance Gujarat in Patan dated to 1292 A.D. The
early Gujrati poem the Basanta Vilasa composed
about 1450 A.D. has enchoes of the Geeta
Govinda. Some 40 Commentaries of the Geeta
Govinda have been written by commentator. One
of the earliest of these is the Rasika Priya by
Rana Kumbha of Mewar which is a very learned
work. Thus the Geeta Govinda was one of the
most commented works of Sanskrit literature. The
commentators belong to different regions of India.
There were a number of middle Bengali and
middle Oriya translations of Geeta Govinda. We
know from the inscription in the Jagannath Temple
at Puri dated 1499 A.D. which has been written
by the orders of king Pratap Rudra Deva that
from the said date the songs and poems of the
Gita Govinda were being sung and recited by the
Deva Dasis i.e. the temple dancers and singers
of the temple. The European scholars also
immensely appreciated the articulation of Jaydeva
in unequivocal terms. Sir William Jones and
Fredrich Ruckert translated it into English and
German respectively. Later on it was translated
into French, English and German by many a
European scholars. Now, Gitagovinda has been
accepted as one of the master pieces of world
literary heritage.
Jayadeva`s work imbibed the spirit of
classical Sanskrit poetic tradition and that of
Apabhramsa and Early Bhasha poetry. The 12
sargas or cantos contain 24 songs. The frame
work of the poem as in the verse form the
descriptive portion. It is in the orthodox style of
classic Sanskrit in manner, meter, ideas and
vocabulary. The songs breathe the atmosphere
of Apabhramsa or Early Bhasa i.e. New Indo-
Aryan literature. Many scholars have suspected
that the songs were originally written in Old
Bhasha. Being a narrative poem it has a dramatic
diction in it. The songs recited by the Gopis,
friends of Radha and Krishna are like speeches.
This speaks of its associations withyatraor Song-
drama of the Old style prevailed in Orissa. It is
defined as a Khanda Kavya or a smaller portion
of a descriptive narrative character. From the
point of view of subject matter it can be said to
have association with Sanskrit poems like
Ritusambhar and Meghaduta. This special
character of the work consists in it the combination
of two styles viz, the descriptive portion and the
song portions. The poem consists of all total 386
verses. In the descriptive portions and in the 24
songs which are spread through out the 12sargas
of cantos into which the poem has been divided.
The cantos have one theme. After a brief
introduction in the first canto which has
benedictory verses with two invocations to Vishnu
he describes 10 incarnations of God and the poem
makes its beginning. Thus in every way the
creation of Shree Jayadeva was multifaceted and
multicoloured.
The supreme beauty of his verbal melody is
just untranslatable in any other languages . The lines
should be heard as chanted or recited in order to
appreciate appropriately. Love i.e. Sringara or
physical love and sexual union and love play or
frank profane love is the centre of attraction in
literary composition of Gitagovinda. There is
94
background of nature in spring time embracing
trees, creepers and flowers amidst hills and dales
and flowing streamlets, the singing of birds and
buzzing of bees. Love in it describes Kama or
physical love and Sringara or sexual union in its
mundane and material plane. Love and love
situations as reflected in the Gitagovinda are
universally appreciated . But amidst erotism there
is undercurrent of true devotional love with God.
Because of this lucid presentation, the themes of
Gitagovinda finds reflection in India Painting
traditions. In different schools of mediaeval
paintings of North and South India we find
conspicuous presence of Gitagovinda. In erotic
scuptures of contemporary North India and
Orissan temple architecture we find best plastic
illustrations of Gitagovinda scenes and situations.
This has also inspried the asrtists of Gujarat and
Rajasthan. In Orissa even now the painting tradition
and scupturisation takes inspirations from
Gitagovinda idiom. Jayadeva`s Gitagovinda also
gave birth to the new cult of Radha Krishna
worship.
The name of his father was Bhojadeva and
his mother was Radha devi or Ramadavi. He was
married to Padmavati. But some scholars believe
that he had two wives Bijaya and Jaya who were
very beautiful. Jaya was Padmavati who was dear
to Jayadeva who used to sing and dance with
him. Bijaya was looking his home affairs who was
expert in discharging household dut ies
meticulously. Padmavati was a cultured lady with
proficiency in scriptures andgandharvalore. Her
behaviour was enchanting and her devotion to
Jaydeva was unprecedented. Because of her
celestial countenance she was dear to everybody.
It is said that behind the sucess of a man there
remains a woman and in case of Jayadeva
Padmavati was the source of insprition for him.
At the fag end of his life Jayadeva led the life
of a Sadhu in a sacred place for emancipation .
He proceeded to Benaras with his beloved wife
Padmavati. There he made friendship with the
Maharaja of Benaras who treated him with honour
and affection. But another school of scholars opined
that Jaydeva along with Padmavati spent their last
part of life at Puri praying at the feet of Lord
Jagannath. In fact Jayadeva was the blessed son
of Saraswati who could create an immortal
creation like Shree Gitagovinda. At present he
efflorescently and singularly stands as a luminary
of opulence in the firmament of Kalinga horizon.
Deputy Director (Technical)
Bhubaneswar
95
Jayadeva, the celebrated poet of the Gitagovinda
was born in the village Kenduvilvashasana or
Kendulishasana in the district of Khurda in Orissa.
He was most likely born in the twelfth century
A.D., during the reign of Kamarnava Deva (A.D.
1147-56), the king of the Imperial Ganga Dynasty.
Kenduvilvashasan is about twenty-eight
kilometers from Cuttack- Bhuvaneswara road
N.H.-5. The village is inhabited mostly by
Brahmins and a little away from river Prachi.
Jayadeva`s Gitagovinda stands unrivalled
in Indian literature. It is a dramatic lyric in Sanskrit
language. Gitagovinda is considered from the
emotional, musical, dramatical and literary aspects
as a unique work in the tradition of Sanskrit
literature. The theme of the poem is the pain of
separation in love. It has twelve cantos, twenty-
four songs and seventy-two verses. the number
of cantos corresponds to the number of chapters
(skandas) of the Bhagavata and the number of
astapadi songs to the twenty-four alphabets of
Gayatri mantras. In the Gitagovinda at the
beginning of each song the name of the raga has
been mentioned. Subsequently different
commentaries and editions have added talas to
ragas and additional verses to each canto of the
work.
Jayadeva, at the very beginning of the work
has hinted upon its nature classifying it as a
pravandha kavya. In actuality it has only a few
resemblances of a kavya and it exceeds beyond
the limiting factor of the kavya. It has more of
visual possibilities along with its lyricism. Instead
of going directly in the phenomenon of dramatic
elements he intends to appraise the readers of
some of the important conventions of the Sanskrit
dramas.
The kavya is a traditional name comprising
all forms of poetical composition in Sanskrit
literature. There are two species of the kavya
that are recognized as drshyaor audio-visual and
shravya or aural. The aural kavya is divided as
mahakavya or the great poetry, another is
laghukavya or the minor poetry which is
subdivided fort her as khandakavya,
duttakavya, gitakavya, champukavya etc. Of
the drushya again there are two classes such as
natya or drama and nata, nrutta or nrutya
meaning expression through gestures with a
musical support. All these fundamental denotations
of the drushakavya could roughly be applied to
Gitagovinda to a great extent. More ever it is
constructed with words in this sense, words as
sound and sound as meaning. There is an
orchestration of syllables, a grand play with the
auditory aspects of the vocabulary. As defined
by the sage Bharata the representation is an act
of the actor by means of which he recreates the
rasas or sentiments inherent in the original situation
forming the theme of the drama under enactment.
This representation according to Visvanantha is
possible in four ways viz: physical, verbal,
decorative and emotional.
The Dramatic Aspects of
Jayadeva in Gitagovinda
Bibhuti Bhusan Mohapatra
96
Gitagovinda marks the transitional stage
between the pure lyric and pure drama. The work
is a lyrical drama which though dating from the
twelfth century, is the earliest literary specimen of
a primitive type of play that still continuing in Orissa
and mostly preceded the regular dramas.
The subject matt er of the work is
undoubtedly a Sanskrit`s form of local lila, desi-
natya or giti-natya on the love episode of
krishna`s life as depicted in Brahamavaivarta
Purana and Rasapancadhyai of Srimad
Bhagavata. The love of Krishna for Radha, the
estrangement of the lovers and there final
reconciliation are the principal components of the
topic as a whole.
In this paper the dramatic elements of Gita
govinda is attempted. Even though it is styled as
a Kavya yet a nominee. It is not different from a
Mahakavya by Dandy and Viswanatha Kaviraj
. But the style of composition of this Mahakavya
is in a lyrical mode which is in a sense, explanation
of the slokas. So the twenty-fourth Astapadies
are only composed to dramatize the situation
which is explained in a nut shell in the seventy-
two Slokas of different Canto. Even though this
is not defined that a play yet, the design is an
undeclared play where the dialogue forms in
second person is very much present. Also the
Gitagovinda could be performed or being
performed with proper gesticulation according to
the subject and sentiments of the song. This dance
is a combined gesticulation of body and mind
which can be named as Avinaya. If there are
twelfth cantos but it is formed in ten sequences or
dramatic events. This can also form a model for
the stage.
First episode :
Jayadeva started the Gita Govinda with a
dramatic situation where Nanda, Krishna and
Radha appear on the stage at the bank of the
river Yamuna, which is black with thick tamala
tree. It is the evening time and the sky is overcasted
by dark clouds. Krishna is afraid of gloom of the
night. Nanda, the father of Krishna commands
Radha to take him home. Radha and Krishna leave
the place, but after that they get involved in secret
love games in the tamala kunja.
This is the introduction to the whole drama.
Here in the opening scene Nanda the Sutradhara
and the poet, the gayaka or narrator announces
the beginning of the enactment and plays to
Jagadisha (Krishna) as is generally done in most
of the giti-natya tradition in Orissa.
Second episode :
In second episode the spring season
comes. The Malaya wind slowly waves the lovely
creepers in the forest. The groves are filled with
beautiful fragrance of the scented flowers. The
sound of the cuckoo is intermingled with the
sounds of honey- making bees rent the air.
Love stricken Radha and her companions
appear. The companions of Radha discloses to
her friends about the amorous sports of Krishna
who had been dancing with other young women
happily under the arched creepers in Vrindavan.
She, vividly describes the rasa nritya of Krishna
with many young Gopies of Gopa pura.
Third episode :
Conceited Radha, on account of jealousy
goes in another direction but appears on the stage.
She is seated hiding in a grove of creepers and
looks sad and dejected. She narrates to her
companions about her first love experience with
Krishna.
Fourth episode :
Here love-stricken Krishna is persuading
Radha here, being wounded, stuck by arrows of
the love god Kandarpa, sitting excited in a kunja
on the bank of river yamuna. He remembers his
past deeds with beloved Radha who left him with
anger without speaking a word of love, visibly
for the misdeeds.
97
Fifth episode :
The companions of Radha appear on the
stage where Krishna is sitting with dejected face
bowing down in grief. She narrates the pitiable
condition of Radha who is in pain.
Sixth episode :
A friend of Radha is seen on the stage
coming from Krishna to console her dear
companion who sits looking down word. She
narrates the condition of Krishna before Radha
and advice her to go to the bank of Yamuna where
the lover is eagerly waiting for her.
Seventh episode :
Here Krishna is waiting for Radha, Looks
around , breathes deeply and release sighs of
frustration. At that moment Radha enters the
stage. She approaches Krishna. Here poet has
pictured the satwika bhavanas.
Eighth episode :
Radha is seen on the stage lying in a hut of
creepers and unable to move, looking passionate
and waiting for the coming of her lover. But
Krishna does not come in time. He is dancing
with other young women.
Ninth episode :
Night has passed away. Krishna appears
before Radha who is seen in the creeper house.
All his submission, requests and prayers have been
rejected by Radha. But her friend consoles Radha
to become calm and friendly to Krishna. She asks
her to please the lotus feet of Madhava and make
her eyes worthy.
Then Krishna again comes in the evening
and adulates Radha very politely, she meets
Krishna with a clear mind and loving heart.
Tenth episode :
In the last episode Radha and Krishna
entreat each other before there union. Then a
dance is performed on the stage where Radha,
Krishna and other Gopies take part. Then after
dance the Radha and Krishna recede into the
temporary house called Kunja and again appear
before the audience in the form of dual (Yugal).
The picturization of the Kavya have been
so successfully done in the Gitagovinda that each
sequence is a complete dramatic event. The whole
activites take place in the bank of Yamuna and
inside the Tamala kunja in a romantic
atmosphere. The characters are appearing on the
stage in different moods with Ashta Rasa and
Vhavas. The drama advances being interwoven
with several melodious songs.
According to the convention, Gitagovinda
could not strictly be identified with anyrupakas
as a whole. But some of the dramatic elements of
Kavya, rasaka and natyarasaka t ype of
Uparupakas are traced in Gitagovinda for which
it may be newly named as a naty-rasaka-kavya.
Because of the Gitagovinda tradition, in later
period developed the Radha-Krishna-Lila in
Orissa like Manabhanjana etc. and also
literatures.
Hence Jayadeva`s Gitagovinda is more a
drama than a Kavya.
Reference Books :
1. History of Classical Literat ure, M.
Krishnamachariyar, 1974.
2. Gitagovinda canto-1 , verse-2.
3. Brahma Vaivarta Purana, Dhamagranth Store,
Cuttack.
4. The Sanskrit Drama, A.B. Keith.
5. History of Classical Sanskrit Literature,
Dasgupta & S.K. Dey.
6. Sahitya Darpana, Chowkhamba Publication,
Benaras.
Senior Research Fellow ( Sanskrit)
Central Research Institution (Ay),
Bhuvaneswar
98
In the pages of world history, the eminence of
Lord Jagannath and the poet Jayadeva has been
accepted by scholars of philosophy and literature.
Lord Jagannath has been accepted worldwide as
the epitome of universal brotherhood and saviour
of downtrodden people of the world. As per the
name, Lord Jagannath
is the master or the
Lord of t he entire
universe. As
"Patitapaban", he is the
caretaker of all people
in distress of the world
(Patita) irrespective
of cast e, creed,
religion and
geographical location.
Poet Jayadeva presented "Geetagovinda"
a lyrical drama during twelfth century, the earliest
literary specimen of a primitive type of play that
still survives in the eastern part if India and have
preceded the regular dramas. Verses of
Geetagovinda contain no dialogue in the
conventional dramatic form but is full of lyrical
monologues. The subject of Geetagovinda is the
love of Krishna for the beautiful cowherdess
Radha, their estrangement and finally their
reconciliation. Though there are descriptions of
human sexual love sequence, the literary creation
has acclaimed laurel in the Vaishnab culture all
Gitagovinda and Jagannath Culture
Prabhat Kumar Nanda
over the world. The separation of Krishna and
Radha, sincere seeking for each other and the
final union, represent the relation of the supreme
deity (Parambrahma) with the human soul
(Jeeva). Poet Jayadev made successful attempt
to glorify the worldly material love as important
as celestial love
along with the
associat ion of
Shreekrishna with
Lord Jagannath as
inseparable.
It is pertinent
to analyse the
c ont e mpor a r y
political, religious
and cultural
scenario of Orissa during eleventh and twelfth
centuries. Towards the second half of the eleventh
century AD the Indian society was in a phase of
directionless transition. Jainism and Buddhism
were prominently on the diminishing stage but not
totally extinguished. After Adiguru Sankaracharya,
Shaivites took the leadership in diminishing
Buddhism by prosecuting the followers of Lord
Buddha and by destroying their Stupas, Viharas
and monasteries. In such places, Shaivites
constructed Shiva temples, Later, after acceptance
of Lord Buddha as an incarnation of Lord Vishnu,
there was emergence of cult to tantrik cults
99
associated with magical activites to attract common
people to their side. Such has depicted social
degeneration. The deep devotion of Vaishnavism
and Shaivism disappeared in the arena of practice
of devotees and easy going methods to achieve
pleasure was accepted by the devotees and
common people. Hence, pure and celestial thinking
started disappearing from the sphere of religion and
easy going personalities aiming at enjoying the lives
with all worldly pleasure without devotion and
penance overtook the ethical heritage. The brutal
attack of rulers of Afghan origin, the influence of
Islamic Sufies, destruction of Hindu temples paved
the way for the religious and cultural degeneration
in India.
However, in spite of all such aspects of
degeneration in the Indian Society before twelfth
century, the culture, religious and literary
supremacy of Vedas, Upanishads, Puranas and
innumerable epics in Sanskrit literature continued
all over the world and as such were advocating
the universal truth and undisputable human
behaviour. The concept of Chaturdham of
Badrinat h, Dwarka, Rameswaram and
Shreekshetra (Puri) continued to gain importance
not only in the field of religion but also in the
spheres of art, culture, literature and tourism.
Since long, the worship of Lord Krishna is
in existence in India. During the first century B.C,
specifically during the rule of King Kharavela, the
worship of Gajalaxmi had the prominence in the
society. In due course, the worship of Krishna
Vasudev was associated with the offering of
prayer to Laxminarayan in ancient Orissa. Such
practice was transferred to Laxmi Madhab
worship. The devotion to Basudev was embodied
with the worship of Ananta, and the culture of
Ananta Basudeva was est ablished at
Bhubaneswar. Further, the influence of Lord
Vishnu was observed in the religious scenario of
Orissa and the worship of Vishnu Krishna was
popular in the society.
During the eighth century, verses of Utkal
Khanda of Skanda Purana established the Lord
Jagannath as Krishna and Jagadisha, Fostering the
image of Krishna on Lord Jagannath was a
successful attempt by followers of Vaishnavism in
Orissa. In due course, Goudiya Vaishnavs
accepted Lord Jagannath as Vishnu Krishna. The
celebrated poet of twelfth century, Shree Jayadeva
described Vishnu Krishna as Avatari i.e. the
incarnator, the source of all incarnations. Famous
poets like Shankar, Kshemendra and Shriharsha
established Lord Krishna as the most important
force in the description of Dasavatara i.e. ten
incarnations. But poet Shree Jayadeva for the first
time in the religious history of the world proved
Jagadish, i.e. Lord Jagannath as the most celebrated
factor of ten incarnations. Along with Lord
Jagannath, Shri Jayadeva has established Lord
Krishna as equally important in the verses of
Dasavatara. In the Utkal Khanda of Skanda
Purana it has been proved that, Lord Jagannath
and Krishna along with Balaram and Balabhadra
are the same. As per the version of Skanda Purana
Na vedohshti ha ko Biprah Krishnasya Vishnu
and Balaram relationship, Shree Jayadeva has
placed Balaram in the eighth place of ten
incarnations in the place of Sri Krishna.
During the twelfth century importance of
the concept of Vishnu Krishna was altered to
Gopal Krishna culture. In the Utkal Khanda of
Skanda Purana, which has been considered as
one of the authenticated religious scriptures
describing the prominence of Jagannath culture,
there was no mention of Shri Radha. Poet Shri
Jayadeva though was vididly inspired bySkanda
Purana, did not limit writing in narrating only
about Shree Krishna but also associated Shree
Radha in his famous writing Geeta Govinda to
100
make his verses more lively and pragmatic. To
establish the co- existence of Shree Jagannath,
Shree Krishna and Shree Radha in his famous
writing Geeta Govinda and to make his verses
more lively and pragmatic Jayadeva has mentioned
Radhamadhab many a times in Geetagovinda.
Poet Jayadeva has proved Laxmi Narayan and
Radha Krishna as the same in Geeta Govinda.
Following mentions can be illustrated from Geeta
Govinda to establish the above.
1. Radhamadhavojayati -1/1
2. Shritakamala Kuchamandal -1/2/1
3. Shreemukha Chandra Chakor -1/2/7
4) Padmapayodhar tatee parirambha
lagna-1/2/10
5) Ramaya Mayasaha Madan
Manoratha-2/1
Shree Jayadeva has established Lord Jagannath
as Vishnu, Krishna and Hari
1) Yadi Haricharane sarasam manah-1/3
2) Haricharan Smaranmruta -12/2/8
The conceptual investment made by Shree
presenting Jayadeva by Lord Jagannath as Shree
Krishna in the twelfth century was successfully
encashed by Shree Chaitanya in the sixteenth
century in Shreekshetra through propagation of
Goudiya Vaishnavism. Goudiya Vaishnavas,
observing the absence of Radha near Jagannath,
declared Radha as the integral part of Jagannath.
Poet Dibakar Bipra in his writing Jagannath
mruta Geeta has expressed that Jagannath
Sharirena Radhatistati Sarbada". The meaning
of above Sanskrit writing is that, Radha all along
exists in the body of Jagannath. Jagatguru Shree
Shakaracharya in his famous composition
Jagannathastakam has mentioned about
pleasure of Radha in the heavenly embracement
as follows.
Parabrahmapeedah Kubalayadalotfullanayano,
Neebasee neeladrau nihitacharanohanantashirasi,
Rasanando Radhasarasabapuralinggana sukho
Jagannath Swamee nayana-Patha-gamee bhabatu me.
A number of scholars of Hindu Philosophy
have accepted Lord Jagannath as Shree Krishna
and in a number of religious rites observed in the
temple of Puri (Shree Mandir), prominence is
given to the festivals associated with Shree
Krishna. Dola Purnima, one of the important
festivals of Hindu religion, is being celebrated at
Puri with much pomp and ceremony. It is also
popularly said that by seeing (Darshan) Lord
Jagannath as Dolagovinda on the cradle
(decorated swing) of Dolotsab, the devote will
not have rebirth.
Dolecha Dolagovindam
Chapecha Madhusudanam,
Ratheto Bamanam drustwa
Punarjanma na bidyate
Lord Jagannath is named as Dolagovinda
in the above version.
Shree Jagannath Das, a renowed Oriya
poet of sixteenth century has sucessfully proved
Shree Krishna as one of the virtues of Lord
Jagannath. Out of sixteen virtues of Lord
Jagannath, Nanda bala ( the son of Nanda, Shree
Krishna) has acquired one of the virtues. Later,
in the life (Leela), Shree Krishna has magnified
such one virtue to sixteen virtues while leading
life at Gopa( Brindaban). As per Jagannath Das
in Odia Bhagabat :
Jagannath je Solakala
Tahun Kalae Nandabala
Kalaku Solakala kali
Gope Bihare Narahari"
The above thinking of the poet Jagannath
Das in the sixteenth century can be taken to be as
the deep influence of Geeta Govinda composed
101
by poet Jayadeva in the twelfth century. In Geeta
Govinda, poet Jayadeva transferred the image of
aristocratic Krishna in to a lover Krishna of
cowhered clan (Gopal Krishna). Dr. Mayadhar
Mansingh, a famous poet and literary critic of
twentieth century has supported the above fact.
In his book "History of Oriya Literature", Dr.
Mansingh has identified Geetagovinda as the
romantic story of Radha and Krishna, which takes
readers from the spiritual world to the material
world glorifying the intense love between a lover
and his beloved. While reading Geetagovinda it
is felt that Radha and Krishna are not celestial
figures of heaven, rather they are the innocent
characters engaged in deep love on the earth. In
the Geetagovinda, Radha is the mistress and not
the consort of Krishna. Being a follower of
Ramananda Sect, Jayadeva sucessfully made an
accumulation of godly and human virtues of Shree
Radha and Shree Krishna.
From the history of Orissa it is revealed
that the practice of singing Geetagovinda in
Jagannath temple is in vogue since the twelfth
century. Ganga King Anangabhima Deva
introduced the services of thirty-six types by
different servants in the temple. Such are popularly
know as Chhatisha Niyoga in the tradition of
Jagannath temple. Such servants attend all rites
of Lord Jagannath from the morning to midnight
i.e. from leaving the bed in the early morning
(Mangala Alati) to retiring to the bed in the night
(Badasinghar). During Badainghar, Maharis or
Devadasis (woman dedicated for the services of
Lord Jagannath) were singing the verses of
Geetagovinda and dancing as per such tune. All
along in the cultural heritage of Orissa, the king of
Orissa (Gajapati) has been considered as the first
servant of Lord Jagannath (Prathama Sevaka).
Such practice was conveying the spirit of humility
of the king of Orissa to the common citizen
inculcating the spirit of togetherness with the king
and the common people's dedication before Lord
Jagannath. Hence, there was no apprehension of
civil war against the king by common people. Such
was fostering the unique solidarity in the State.
Considering Lord Jagannath as the king of Orissa,
all royal rites have been practicised in the temple
of Puri. The practice of singing verses of
Geetagovinda is one of such rites in the royal and
sacred court of Lord Jagannath.
During the fifteenth century, there was an
att empt to replace the presentation of
Geetagovinda by Abhinaba Geetagovinda,
composed by the Gajapati Purushottama Deva.
It was written by Pandit Kabichandra Ray
Dibakar Mishra but was offered in the name
Purushottama Deva Gajapati Maharaj. In the last
verse of Abhinaba Geetagovinda, the narration
is as follows :
"Itishree Purushottama Deva Gajapati
Maharaja Krute Abhinaba Geetagovinde......."
Such practise was not accepted by the
devotees of Lord Jagannath and was abandoned
by Gajapati Prataparudra Deva in the sixteenth
century and again ordered for the chanting of
Geetagovinda written by poet Jayadeva in the
temple of Lord Jagannath. In the Mandalapanji,
the chronicle of historical events of Jagannath
temple, it is clearly mentioned that, there would
be the chanting of only Geetagovinda before Lord
Jagannath and no other songs would be offered
(Ana Geeta Na Hoiba)
The main aim of poet Jayadeva was to
establish Geetagovinda as a religious scripture.
In his writing in different verses, he used the words
"Shubhaprada", "Jashaskara", "Sukrutoda-
yakaraka", "Shatamangal Bidhyaka",
"Kalikalusanasana", "Kaliyuga Charita
Duritanasi" and "Shreehari Bhakti Bardhaka"
as the manifestation of the pure love displayed by
102
Rasikashekhara Shree Krishna and
Alhadamayee Shree Radha. In the first canto of
Geetagovinda, the poet while describing ten
incarnations has used Jaya Jagadisha Hare and
Keshaba Dhruta inculcating a synthesis of Lord
Jagannath and Shree Krishna as one and the same.
In the Dasasavataracharita written by poet
Ksemendra, the poet has accepted Lord Vishnu
as the supreme god. "Mahagahanagudhaya
Nanarupaya Vishnave". He has elaborately
illustrated different actions of ten incarnations.
Justifying the literary and religious glory,
scholars have enunciated that, Jayadeva's
Geetagovinda stands unparallel in Indian literature
as the last classical and first modern creation in
the twelfth century. Research Scholar Dr. Kapila
Vatsayan has rightly viewed that, "There is no
gainsaying that, Orissa is the richest repository of the
tradition of the Geetagovinda in the literary, pictorial
and performing arts alike". Hence the importance of
Geetagovinda is not limited within the literary
sphere of the Indian society, rather it has gained
the status of eternal traditional glory securing the
permanent ritual status in the temple of Lord
Jagannath.
References :
1. History of Oriya Literature- Dr. Mayadhar
Mansingh.
2. Sanskruta Sahityara Itihasa- Dr. Gopinath
Mohapatra.
3. Shri Jayadeva 'O' Shree Geetagovinda- Kedar
Nath Mohapatra.
4. Jayadeva and Geetagovinda in Historical
Prospective- Ajit Kumar Tripathy.
5. Theory of Incarnation- Dr. Rabiprasad Mishra.
6. Kabiraj Jayadevakruta Shree Geetagovinda-
Pandit Nilamani Mishra.
7. Geetagovinda Manuscripts in the Collection
of Orissa State Museum - Dr. Bhagyalipi Malla.
Secretary,
Paradeep Port Trust,
Paradeep, Orissa - 754142.
Proclamation of Gajapati Prataparudra Deva issued in 1499 A.D.
(As inscription located on the left side of the Jayadeva doorway, written in Oriya language and
script and dated AD 1499, prescribes the performance of the Gitagovinda in the temple)
'On Wednessday the tenth lunar year of Kakada bright half in the 9
th
mark of the warrior,
the elephant-lord, the mighty Prataparudradeva Maharaja, King over Gauda and the ninety
millions of Karnata and Kalabarga, orders as follows:
Dancing will be performed thus at the time of food-offerings (bhog) to the Elder Lord
(Balarama) and the Lord of the Gitagovinda (Jagannath). The dancing will continue from the end
of the deities` evening meal (Sandhya dhupa) to their bedtime meal (barasimhara). The dancing
group of the Elder Lord (Bada Thakur) the female dancers of Lord Kapileswara and the ancient
dancing group of Telangana will all learn no song other than the Gitagovinda from the Elder Lord
Om. They will sing no other song. No other dance should be performed before the great God. In
addition to the dancing there will be four singers who will sing only the Gitagovinda. Those who
are not versed in singing the Gitagovinda will follow in chorus-they should learn no other song.
Any temple official who knowingly allows any other song or dance to be performed is hostile to
Jagannatha.
103
Gitagovinda, which was composed by the
celebrated poet Jayadeva in the 2nd half of the
12th Century, is an epoch making work in the
history of Sanskrit literature. Composed in 12
Cantos, 24 Prabandhas and 72 Slokas this
literary masterpiece describes the amorous
dalliance of Radha and Krishna. The musical
beauty of lyrics, the sweetness of expressions,
the imaginative description of the landscapes and
above all the artistic expression of universal human
feelings depicted in Gitagovinda have a captivating
effect on the scholars. Its theme, style, words and
dictions, its rhythm and rhymes have been imitated
by many writers of various languages. The
Gitagovinda has influenced the entire domain of
Sanskrit literature which has been undisputedly
Influence of Jayadeva's Gitagovinda on
Oriya Literature
Dr. Jyotshna Sahoo
established by the discovery of large number of
imitations, translations and commentaries written
by the scholars of different parts of India.
Through the present paper an attempt has
been made to focus on the contributions rendered
particularly by the poets of Orissa with regard to
the imitations, translations and commentaries being
influenced by the immortal masterpiece
Gitagovinda of Sri Jayadeva. Prof Dr.Banamali
Rath in his article "Imitations of Gitagovinda" has
enumerated a detailed list of 132 imitative works
in Sanskrit made by the scholars from different
parts of India. However this paper contains the
imitative works of the scholars of Orissa. The
imitations with their respective authors are enlisted
here
Imitative Works by the Poets of Orissa
1. Abhinava Gitagovinda - Kavichandra Raya Divakara Mishra
Its authorship has been attributed to Gajapati
Purushottama Deva (1466-1497 A.D)
2. Sri Jagannathavallabha Natakam - Ray Ramananda Pattanayak (1500 A.D.)
3. Piyusha Lahari Natika - Jayadeva Acharya (1520 A.D.)
4. Rukminisa Vilasa - Narayan Bhanja Deva (1525 A.D.)
5. Baishnavamruta Gosthirupaka - Jayadeva Acharya
6. Mukunda Vilasa Mahakavyam - Yatindra Raghuttam Tirtha (1620 A.D)
7. Mudita Madhavam - Satamjiva Mishra (1620 A.D.)
104
8. Radhamadhava Keli - Raghunath Harichandana
9. Sangita Madhava - Kaviraj Govinda Das
10. Sivalilamrita - Pandita Nityananda Kavi
11. Sri Krisnalilamrita - Pandita Nityananda Kavi
12. Gopagovinda - Kaviratna Purushottam Mishra
13. Keli- Kallolini Kavya - Anadi Mishra
14. Rasagosthirupuka - Anadi Mishra
15. Sangita Chintamani - Kavichandra Kamalalochan Khadgaray (1775-
1793 A.D.)
16. Gitamukunda - -Do-
17. Vrajayuva Vilas - -Do-
18 Gita Sitavallabha - Kavi Sitikantha (1750 A.D)
19. Samruddha Madhava Nataka - Kavibhusana Govinda Samantray
20. Radhavilasa Mahakavya - Harekrushna Purohit
Translated Works from Orissa
In appreciation of the qualities of
Gitagovinda a host of Orissan writers have
attempted at different times to translate it and also
compose kavyas in their own ways. The theme,
the form, style of the poem, the lyrics, the fluidity
of diction, the alliterative word setting were an
allurement to poets including the romantic poets
of early 20th century. Starting from Sarala Das to
Kavichandra Kalicharan many poets have
enriched the Oriya literature with their literary
creation being brought up by the tradition of
Gitagovinda.
The poets who have earned fame in the
prose and poetic translations of Gitagovinda are
Dharani Dhara, Brundabana Dasa, Dinakrushna
Dasa, Vajari Dasa, Uddhava Dasa, Ananta Ratha,
Jagannath Bhanja, Kavichandra Kalicharan
Pattnaik, Gopinath Dhir and Jayakrushna Pattnaik.
A brief note on works of the above poets is
enumerated here.
Dharanidhara
Of all the translations of Gitagovinda into
Oriya, the translation by Dharanidhara (1520
A.D.) is known as the oldest and most popular.
He has translated the 12 Sargas of Gitagovinda
in sixteen Chhandas having different Ragas.
Along with the translation of the slokas, the poet
has added some verses of his own imaginations.
Vrindavana Dasa
The Gitagovinda translated by Vrindavana
Dasa (1625 A.D.) is known as Rasavaridhi. The
12 Sargas of Gitagovinda have been translated
into 20 Oriya Chhandas with different Ragasand
Vanis and he has used some new Ragas in his
work.
Dinakrushna Dasa
Kavi Dinakrushna Dasa was a prolific
writer and was the author of large number of
works most of which were written under the
patronage of Balarama Samantasinghara the
105
Chieftain of Dhenkanala Kingdom. In this work
entitled Amritasagara Boli containing 45
chapters, he has described the entire Gopalila
of the 10th Skanda of the Bhagavata Purana.
Twenty Chapters of this work depicting the
Rasalila of Sri Radha and Sri Krishna are based
on the theme of Gitagovinda.
Vajari Dasa
The translation of Sri Gitagovinda made by
Vajari Dasa is known as Arthagovinda. The
work has been done in the style of popular
Navaksari Bhagavata Brutta in the 21st Anka
of Gajapati Mukunda Deva. This work has been
published by the Department of Culture of Orissa
Govt. with a comprehensive introduction.
Uddhava Dasa
Poet Uddhava Dasa (17th C. A.D.)
translated the Gitagovinda into Oriya verses being
directed in a dream by his guru Jagannath Mishra
to take up this work. This has been translated in
Nabaksari Brutta.
Ananta Ratha
From the translation of Gitagovinda by
Ananta Ratha it is known that the author did this
work at the request of King Divyasingha Deva,
the ruler of Khurda territory.
Jagannath Mishra
The Prose translation work by Jagannath
Mishra is considered as the oldest one. The
author was a Sanskrit scholar of repute. After
the work of Jagannath Mishra, Vasudeva Mishra
also did a translation of Gitagovinda that has
been written in early Oriya prose style and this
work is known as Balabodhini Tika.
Gopinath Dhir Jagadev
The translation work done by Gopinath
Dhir is known as Sangita Gitagovinda. He has
earned fame among the scholars for this work.
Pindika Srichandana
Pindika Srichandana who was a
contemporary of Gajapati Divyasingha Deva - I
of Khurda wrote his Vasantarasa following the
style of Gitagovinda in Bengali. The author has
incorporated some Oriya songs at different places
of the text.
Syamasundara Bhanja
Syamasundara Bhanja was flourished in the
1st Part of the 19thCentury and was Zamindar of
Haladia near Khurda of the then Puri district. He
has written many poems and prose.Out of these,
Vasantakrida Samujvala Rasabali written in
Bengali language is a translation of Gitagovinda
Apart from all these translations of
Gitagovinda the musical aspect of Gitagovinda was
followed by all the Kavya writers of Orissa.
Commentaries on Gitagovinda
Gitagovinda was so popular that
Commentaries on the work began to appear
within years. Dr. H.K. Mukharjee in his book,
Comprehensive Study of Gitagovinda has
enumerated some 40 commentaries on
Gitagovinda. Of all t hese works t he
Bhavavibhavini Tika by Dhirendra Udayana
Acharya of Utkal is regarded as the earliest.
Udayana Acharya was a contemporary of poet
Jayadeva. Though this Commentary is not
available now but the credit for discovering this
tika goes to Dr. F. Keilhorn who gives the
information that the no. of leaves was- 100, no.
of lines on each page 10 and no. of slokas - 100
and the manuscript was in the possession of S.
Lakshmana.
The next Orissan Commentator was
Kaviraja Narayana Dasa who was the great
grandfather of Viswanath Kaviraja of Sahitya
Darpana and his Commentary is known as
106
Sarvangasundari Tika. From the introductory
verses of this work it is known that this
commentary was written by Narayana Dasa who
begins this work after paying his respects to
Radha and Krishna such as.
Shrikrishnaya Namah
Sarvangasundari Radha Krishna Sarvanga Sundarah
Tayoranandajanani tika Survanga Sundari.
The text of the tika is written in Oriya
characters of 18th century and the name of the
author is also found at the end of each Sarga.
Apart from this Srutiranjini Tika by
Lakshmana Suri, Rasikarangada Tika by
Lakshmana Bhatta and Sarvanga Sundari Tika
by Dhananjaya Dvija were written in Orissa. Like
the tika of Narayan Dasa, this Sarvanga Sundari
Tika by Dhananjaya was very popular in Orissa
as manuscripts of this commentary are found from
several places. It is known from the description
of the tika that it was written in the month of
August 1688 during the reign of Mukunda Deva,
the king of Khurda.
Another famous Pandit of Orissa, Chandi
Dasa, has written a tika known as Prakasa
Kaumudi on Gitagovinda about which Pandit
Kedarnath Mahapatra has mentioned in his book,
Sri Jayadeva 'O' Sri Gitagovinda.
From the above discussion encompassing
the imitations, translations and commentaries on
Gitagovinda it could be definitely concluded that
the impact of Gitagovinda on Orissan Literature
is far reaching. Not only our literature but the
influence of Gitagovinda has been experienced in
the fields of art, architecture, sculpture, music,
dance, palm-leaf illustrations, handicrafts and
textiles etc. The literary outputs by the poets of
Orissa are immortal masterpieces that have
enriched our literature. Some of these works have
already been published but some are in
manuscripts form. So it would be a befitting tribute
to the saint poet Jayadeva if efforts would be
taken to publish those available literary creations.
References:
1. Orissa Historical Research Journal
(Special volume), Orissa State Museum,
Bhubaneswar, 1982.
2. Panda, Bhagaban (Ed.Sri Gitagovinda
Mahakavayam, Orissa Oriental Text Series
(Sanskrit) 20, Directorate of Culture,
Bhubaneswar, 1985.
3. Utkalara Kabi Jayadeva- Sarala Sahitya
Sansada, Cuttack. 1992
Assistant Librarian
Bhubaneswar
R
107
It is a pity that one cannot procure a contraption
called the Time Machine` as envisaged by HG
Wells in his scientific fiction of the same name.
Riding that Time Machine one could travel
backward in time - to ages past. Were we able
to obtain such a contraption and ride on it deep
into the past, up to the time of Jayadeva, one of
the all-time five great poets of Sanskrit Literature,
it would have been easy to determine the place
where Jayadeva was born, instead of wading in a
cesspool of doubts and contradictions - the claim
regarding his birthplace at Kenduli (Kenduvilva)
in West Bengal or at Kenduvilva in the Prachi
valley of Orissa.
In order to disperse this fog of controversy
we have to consider the contentions in a proper
scientific method. Such a method is based on three
pillars: the pillar of Experiment and Observation,
the second one consisting of the logical processes
of Induction, Deduction and thereby drawing an
Inference and the third pillar of Authoritative Dicta.
Besides these three main pillars and the
infrastructure we have also to devote our attention
to on the superstructure as well as the collateral
proofs obtained by archaeological, historical,
literary, cultural and anthropological and the
behavioural sciences and in extension of other
adjoining streams from which proofs can be
gleaned.
Poet Jayadeva
Dr. Satyakam Sengupta
Needless to say the whole controversy on
the birthplace of the Saint Poet Jayadeva had
been mostly raging between two contending
parties, viz., the historians and the litterateurs of
West Bengal on the one hand and those of Orissa
on the other hand. The controversy was further
fuelled by the scholars of other fields as well, e.g.
the folklorists, the cultural anthropologists and
sociologists and others. The whole controversy
became so dense and foggy that it became
increasingly difficult to sift through the facts and
proofs, and arrive at a conclusion. It is grievous
and highly deprecat ing that par ochial
provincialism also played a mischievous role into
it to make the problem even more obfuscating
and confusing the point at issue.
Now, with the advent of Jayadeva
Sanskrutika Parishad, Bhubaneswar and The
Orissa Historical Research Journal published by
the Orissa State Museum, Bhubaneswar
consisting of scholars reputed for their open-
mindedness, probity and relentless search for the
truth, it has become easier for the scholars from
West Bengal and Orissa, nay, the scholars from
all over India to express and air their views in an
open-minded atmosphere free from any personal
egoism, bigotry, pedagogy and provincial
parochialism. Having such an opportunity at our
disposal the author of this article felt it obligatory
108
to air his views without any kind of bias and to
declare openly that the Saint Poet Jayadeva was
born in Kalinga (now Orissa, but in those times
consisting of the present State of Orissa and some
adjoining areas of the present State of West
Bengal) once for all and not, as believed, in
Kenduvilva (Kenduli), West Bengal, but in
Kenduvilva (Kenduli) in the Prachi valley of
Orissa.
To begin with let us start with the third of the
scientific research processes, i.e., the views
expressed by the Authorities. In his diligently
written article, Historical Perspective of Saint
Poet Sri Jayadeva` by Ajit Kumar Tripathy, I.A.S.,
(published in the The Orissa Historical Research
Journal`, Vol. XLVI No.2) there are references
of such authoritative persons, like Late Rakhaldas
Bandopadhyaya (of Harappa - Mohenjodaro
fame), Late Dr. Suniti Kumar Chattopadhyaya
of the ODBL (Origin and Development of the
Bengali Language) fame, Late Dr. Sukumar Sen
(of the Bengal of the Ancient Age` and Bengal
of the Middle Age`) fame and other authorities as
well (vide column Nos. 12.4, 13.1, 14.4, 20.1,
20.3, 20.4, 20.5 and 20.6). Among the others
Ajit Kumar Tripathy has mentioned Dr. S.N.
Rajguru but has been misguided about the dating
and Poet Laureateship of Dhoyi Sen (of whom
the author is the only direct descendant alive and
with him the clan of Dhoyi Sen will end because
he has no son) due to the wrong inferences and
conclusion drawn by Dr. Rajguru. But as that moot
point does not concern or affect the question of
the origin of the birthplace of the Saint Poet
Jayadeva, we may safely put it aside. Otherwise
a whole new vista of the history of the Sen`
kingdom will open up and another new article
needs to be written about the widespread
misconception prevailing about Lakshmana Sen.
Here it is only sufficient to say that there were
two Lakshmana Sens - the Father and the Son
(the former Lakshmana Sen was the son of Raja
Ballal Sen of the Sen` dynasty and the latter was
the grandson of Ballal Sen, who fled from
Nabadwip when the capital of the Sen` dynasty
was shifted from Gaurh to Nabadwip, which was
renamed as Lakshmanavati.
Dhoyi Sen was the Court Poet of the former
Lakshmana Sen at Gaurh and also his son
Lakshmana Sen whose capit al was
Lakshmanavati. The second Lakshmana Sen was
ousted by Bakhtiar Khalji, compelled to leave
Bengal and finally reached fara way Kashmir to
settle there - (the last descendant of whom was
Sri Lalitmohan Sen, an M.P. of the Rajya Sabha
during 1952 to 1957 as a candidate from
Kashmir). Both the Lakshmana Sens are confused
by the scholars as the same and one person. This
fact is proved by the book Kuladarpanam`
compiled by Tribhangamohan Sensarma tracing
the origin of the Baidya Brahmins right from the
period of Kusali Sen, the father of Dhoyi Sen. A
copy of the lineage of Dhoyi Sen is with Prafulla
Chandra Tripathy, an arch scholar of the Jayadeva
Foundation Trust to whom the author pays his
homage for his painstaking job. Even then the
author has the only existing printed copy of the
Kuladarpanam` with him. Anyone having a
shred of doubt may consult the author`s lineage
up to the 26th generation predecessor Dhoyi Sen.
As for the particular authorities mentioned here
before, as referred by Ajit Kumar Tripathy, were
all Bengali scholars of great eminence of the SOAS
(School of Oriental and African Studies in
London, U.K.) background previously called
SOS (School of Oriental Studies) and they are
particularly remarkable because being Bengalis
themselves, they have all expressed doubts about
Poet Jayadeva being of Bengali origin.
There were two more eminent Bengali
scholars who have not been mentioned by Ajit
109
Kumar Tripathy - the Late Dr. Atul Sur, with
SOAS background and a reputed socio-cultural
expert and the Late Dr. Asutosh Bhattacharya, a
revered name in Bengali linguistics and folklore.
The author of this humble article have had the
unique opportunity of conducting several
interviews with four of these five Bengali scholars
except Late Rakhaldas Bandopadhyaya, who
expired before the author`s birth. But his views
were gleaned by the author from his grandfather
who was a childhood friend of Rakhaldas till his
(Rakhaldas`s) death. These four scholars`
observations, concepts and opinions are
discussed here for a very pertinent and important
reason: because, they all were Bengalis not
Oriyas, and unlike come other Bengali scholars
of lesser knowledge, intelligence and narrow
mindedness they were far, far above any parochial
provincialism.
These four scholars, viz., Dr. Suniti Kumar
Chattopadhyaya, Dr. Sukumar Sen, Dr. Atul Sur
and Dr. Asutosh Bhattacharya had grave doubts
about the birthplace of Poet Jayadeva being born
in Bengal and expressed their views far more
openly and clearly than had been expressed in
their writings on the subject. As the years rolled
by they became more and more convinced about
Poet Jayadeva being of Oriya origin which
transpired through their conversation with the
author as time progressed. Here a small reference
should be made on the author of another article,
Sri Ashish Chakraborty who had his own
opportunity to gain information from or the views
on the topic from Late Dr. Asut osh
Bhattacharyaya works. As far as the author has
observed and come to know, all these four
scholars based their views on different reasons,
each considering the topic from his own angle and
perspective. Their views and the underlying
reasons are briefly described here below, which
may be elaborated with examples and illustrations
in detail at a later date.
Dr. Suniti Kumar Chattopadhyaya with
whom the author had been familiar since his early
childhood till his death, based his views from the
linguistic and philological considerations which
had been his forte. It was he who pointed out to
the author the linguistic closeness between Poet
Jayadeva`s Sanskrit and the Oriya language on
one hand and the difference between Jayadeva`s
Sanskrit and that of the Sanskrit of the poets and
scholars of Bengal. He also pointed out, with the
progress of time, the phonetic closeness between
Jayadeva`s Sanskrit with the Oriya language and
the difference between the same Sanskrit with that
of the Bengali language. He illustrated his views
by quoting several verses from Jayadeva`s
Gitagovindam and by writing them down with the
international phonetic diacritical signs written in
the Roman alphabet and script. He did the same
with the phonetic pronunciations of the same
verses as would be recited by a Bengali and by
an Oriya. It was clearly evident that the linguistic
and phonetic closeness between Jayadeva`s
Sanskrit as recited by an Oriya person was far
more close to the original than the same verse
recited by a Bengali. He further pointed out that
Jayadeva very carefully avoided the use of hard
consonants like dhh`, rhh`, etc., and used far
more liquid consonants like the soft t`, r`, i`,
etc, than the other great Sanskrit poets. The same
pattern is followed in the Oriya language whereas
the Bengali language is full of the hard consonants,
which the other great Sanskrit poets of Bengal
used in their Sanskrit. He also noted that Jayadeva
omitted the visarga` sign violating the grammatical
usage of Sanskrit to make his Sanskrit more
smooth and vocably fluent. Further it was suitable
to be set into tune so that the dancers can dance
with it.
110
Jayadeva also violated the Sanskrit grammar
in many places. This point, it should be mentioned
here, was also noted by Smt. Chandrabati
Chakraborty a teacher of Sanskrit and the wife
of Dr. Ashish Chakraborty, the other author of
another article on Jayadeva. Dr. Chattopadhyaya
further remarked that Jayadeva`s Sanskrit was
mostly full of open-sounded vowel formation, i.e.,
a-karanta` like the Oriya language and unlike the
Bengali language. He further elaborated on the
metrical formation of the verses which were far
more wide in variety and more melodic in nature
so that the dancers could perform with the verses
when set in tune. This point will be further
elaborated when the observations of Late Dr.
Asutosh Bhattacharya is discussed. This was not
in consonance with the Bengali-Vaisnavite
societies right from the Padaboli Sahitya` of
Vidyapati, Badu Chandidas, Dwija Bansidas,
Chhoto (younger) Chandidas, Jnandasa, et. al.
to the pioneer translators Krittibas and Kasidas
(the former translated the Ramayana into Bengali
and the latter translated the Mahabharata into
Bengali both from the original in verse form) and
the followers of Vaishnavism preached by Sri
Chaitanyadeva, e.g., Krishnadas Kabiraj,
Gobindadas, Trilochan Das, etc.) until the 15th
century in the case of the then prevailing form of
Bengali poetry which was mostly of the
monotonous Payara Chhanda` and a few
deviations, not suitable to be set in tune so that
the dancers could perform with some kind of lilting
rhythmic verses. Even the glorious period of
Mangal Kabyas` dating back to the 15th century
to the 19th century all the great poets like
Kavikankan Mukundaram, Bipradas, Ketakadas
Khemananda to Rameswar Bhttacharya and
Bharatchandra and Rameswara Bhattacharya of
the 18th -19th centuries. It was just before the
advent of Sri Chaitanyadeva that Bengali poetry
started exploring new metrical forms and
variations. After Sri Chaityanadeva and his neo-
Vaishnavite followers appeared on the scene, they
started composing kirtans of various tunes mostly
based on the variations of Payara Chhanda`
incorporated with iambic pentameter to lydian
octameter so that those may be suitable for
dancing.
Dr. Sukumar Sen stressed upon the form of
expression and spirit in the contents of Jayadeva`s
Gitagovindam and that of the Bengali poets. He
firstly pointed out that there was no Bengali
language prevailing at Jayadeva`s time and the first
roots of the Bengali poetry were found in the
Charyacharya Vinischaya (popularly known as
the Charyapadas`) texts which were composed
in the Sandhya Vasha` (the language of dusk -
like language in which nothing can be distinguished
and highly obscure almost similar and akin to a
version of slightly altered derivative of the Prakrit
language. It was followed by the Brajabuli and
Maithili verses which were closer to the Bengali
language but yet they were only the rudiments of
the Bengali poetry, because of having a clear strain
of the Hindi language metamorphosed to the
Bengali language. Then he pointed out that even
those verses were more than a century later than
Jayadeva`s Gitagovindam. He further remarked
that even after such a long passage of time the
Bengali spirit, ethos and the sense of morality were
far behind in frankness and morality vs. spirituality
than that found in the Gitagovindam. As an
example he cited a verse from the then leading
poet Badu Chandidas`s Sri Krishna Kirtan :
Kena Banshi Baya Badai Kalini Noi kule
Kena Banshi Baya Budai E Gotha Gokule.
Akul Sarir Mor Biakul Mon
Banshir Shabade Mor Aulailo Randhan.
Other verses from Jnanadas and others
where the physical beauty of Sri Radha was
described he opined that the Bengalis at that time
111
were far more conservative, prudish, discreet and
restrained in moralistic terms, and would go no
further than faintly expressing the physical beauty
and stressed more on the psychological side and
mental pranks when it came to describing the
physically sexual urges and acts, particularly with
the actual act of coitus in detail. Jayadeva was far
more open-minded and extremely explicit
regarding such affairs, particularly in describing
the act of coitus, the semblance of which could
be found in the Konark Temple of the Sun God.
Some may raise a point contending this
observation founding their reasoning on the basis
of the practice of Tantric cults at Konark but that
is fallacious simply because the same form of
Agamatantra in the Bamachari way was far
more extensively practised in Bengal as well,
particularly in the very district of Birbhum wherein
Bengal`s Kenduli is situated. Moreover, Poet
Jayadeva had nothing to do with the Tantras nor
was the one particular person`s attitude or mind`s
propensity was reflected at the Konark Temple.
There it was a combination of regional spirit and
ethos. The pining of Sri Radha was far more
intense than found in the Padabali Sahitya` or as
found among Sri Chaityanyadeva`s followers. For
example, Patatipatatre Vichalito Patre`, the urge
is far more and open and frank with sexual
overcharge. In Dhira Samire Yamuna Tire Vasati
Bane Banamali`, the remorse and begging
forgiveness from Sri Radha by Lord Sri Krishna
was unthinkable in the whole gamut of Bengali
Vaishnavite cults. For example, Smaragaraia
Khandanam-Mamas/rasi Mandanam`, the author
wishes instead of himself some Oriya scholar to
recite these portions. . Without delving further into
Dr. Sen`s observations let us now turn to that of
another scholar, Late Dr. Atul Sur.
Dr. Atul Sur, an eminent expert in mapping
the socio-cultural and religious backgrounds and
localized behavioral patterns, expressed in clear
terms to the author that while considering the
question of Poet Jayadeva`s birthplace, one should
take into account the socio-cultural panorama and
the behavioral science pattern of the two
Kenduvilvas - one in Birbhum district of West
Bengal and the other at the Prachi valley of Orissa.
In his opinion, he said, considering the question
in the backdrop of these two essential and highly
pertinent topics, Poet Jayadeva should belong to
the Prachi valley of Orissa and not in Birbhum
West Bengal. He advised the author to do such
mapping on his own. Such a mapping was done
which will be discussed later when the Experiment
and Observation` part will be discussed. Later
this opened up a fresh field of investigation and
research, which were later conducted by the
author and the conclusions of Dr. Atul Sur became
more and more convincing. Considering vis-a-
vis the socio-cultural panorama and behavioral
sciences, prevailing in the two different regions, a
small glimpse of which has been given in
Dr. Ashish Chakraborty`s article but not
adequately clear and convincing because
Dr. Chakraborty by that time did never see the
Kenduli in the Prachi valley of Orissa. Another
fact of physical geography highlights the issue in
an enlightening way. At the request of the author,
Dr. Chakraborty has managed to obtain Rennel`s
maps of the rivers in East ern India, the
cartography of which was done in the late
eighteenth century. It is with great remorse and
regret that the author asked Dr. Chakraborty to
obtain two highly relevant maps in this connection,
e.g., Ptolemy`s Gangaridae Map` and Rennel`s
map on the Rivers of Bengal and Eastern India`.
Sri Chakraborty informed the author that he had
procured the copies of those two maps but lost
them (his version). But surprisingly he referred to
those two maps in his papers. However these two
maps will be discussed later with their full
significance and importance. Another glaring
112
example can be found in an ancient map of India,
published in a book titled 'Les Civilisation de rind
written by Gustave Dore (DuBois) leBon in the
mid-eighteenth century. The map formerly
mentioned, clearly shows that the river Ajay was
not at all adjacent to the Jayadeva temple at
Kenduli in Birbhum contrary to what is seen
nowadays. The map mentioned later clearly
shows that part of Birbhum district alongwith some
parts of the districts of Nadia, Hooghly and
Medinipur were in the Nimna Kalinga. Perhaps
this has given rise to the confusion among the
scholars about the birthplace of Jayadeva,
because both the Kenduvilvas were in Kalinga at
the time of Ptolemy`s Gangaridae Map`. Thereby
rose a confusion among the scholars of Bengal
and Orissa, each party claiming that Poet
Jayadeva was born in the Kenduli village situated
in that party`s state, completely oblivious of the
fact that the original Kalinga empire stretching from
Andhra Pradesh to the foothills of the Bengal
Himalayas as given in the Ptolemy`s map has
become outdated by Jayadeva`s time. At his time
the region was divided into Anga, Banga, Utkal,
Rarh, Barendrabhum, Samatat and Suhma, the
last one extending up to the Sylhet district of
present Bangladesh The controversy raged on and
on. Furthermore, from Ptolemy`s map we know
that the river Ganges flowed towards the eastern
side of Burdwan district, then through Nadia
district, further ahead along the Howrah district,
then crossing Kolkata veered eastward through
the present district of South 24-Parganas and met
the Bay of Bengal after Netadhopani Ghat.
Rennel`s map, compiled towards the end of the
eighteenth century (much later than Jayadeva`s
time) the river Ganges shifted towards the middle
of Burdwan district and the river Ajay also flowed
along nearby, far ahead of the Kenduli at Birbhum.
So how come that Jayadeva, if he were born in
the Kenduli of Birbhum district used to go to the
river Ganges to have his daily bath ? This point
will be discussed in detail when the biography of
Jayadeva is considered in detail.
An even more interesting point came up
during the Chhau Dance Festival and Contest held
at the Mathha village in Purulia district of West
Bengal between the author and Late Dr. Asutosh
Bhattacharya in 1976. While discussing about the
absence of Lord Krishna`s Divine Act, frolics and
antics in the Chhau dance of Purulia, Dr.
Bhattacharya suddenly remarked that there was
no such Krishna worshipping cult in the Rarh
region of Bengal as Poet Jayadeva had done
through his immortal book, the Gitagovindam. To
illustrate the issue more elaborately, he said that
even on way from Solpur to the Jayadeva Temple
at Kenduli, Birbhum one could find that even while
proceeding to the Jayadeva Temple at Kenduli in
Birbhum there was only one terracotta temple at
llambazar depicting the Krishna worshippers
mainly and Krishna-Radha in a less significant
manner following the lines of Sri Chaityanyadeva`s
Vaishnavite followers. The Gouranga temple at
llambazar was of the neo-Vaishnavite order, not
at all corresponding to the form in which Krishna
and Radha were depict ed in Jayadev`s
Gitagovinda. Later, one further investigation was
made by the author and the research work
conducted by him in that region showed that
wherever any temple depicted Krishna and
Radha, for example, the temple at Bishnupur in
Bankura district, the one at Kashipur in Purulia
district, etc., were all of neo-Vaishnavite order,
as the one in Nadia District, with no panels of
terracotta or stone or any other media of Krishna-
Radha depicted in the manner, acts and moods
as described in the Gitagovindam. The only folk
dance, Nachni-nautch was of a very superficial
and rather crude in nature, antipodean to
113
Jayadeva`s Gitagovindam (which was far more
superior and Divine). In the wide gamut of folk
songs of that region only the Bauls sang of Krishna
and Radha in the neo-Vaishnavite manner with
no trace of the cult of Jayadeva`s Gitagovinda or
his Dasavataras`. They also sang songs glorifying
other religions like Allah in Islam. On the other
hand, Kenduvilva in Prachi Valley and the
surrounding areas were full of songs from the
Gitagovindam and the Dasavatars replete with
song and dance repertoires let alone the rest of
Orissa and the rest of India wherever Poet
Jayadeva was revered. This will be discussed in
detail later on.
In Bengal Poet Jayadeva and his works are
singularly absent in mass culture and that fact
alone can efface the claim of Kenduli at Birbhum
in West Bengal as Poet Jayadeva`s birthplace.
Therefore, the further proofs, a fortiori
obtained through the other two guidelines of the
author`s cultural-anthropological research,
mapping of the religious belt of the two Kendulis
and also studying the behavioral pattern and
psychology of the Kendulis of two regions, i.e.
Experiment and Observation followed by the
methods of Induction, Deduction and Inference
as is the logical process have been conducted by
the author for more than five decades. This will
be further presented in the next portion alongwith
the contradictions and anomalies found in the most
authentic Bengali scholars on the Saint Poet
Jayadeva`s biography, which will be proved with
the aid of Ptolemy`s Gangaridae Map` and the
Map of the Rivers of Bengal and Eastern India`
compiled by Rennel in the late eighteenth century.
This will be further corroborated by quotations
from Kavi Bipradas`s Manasamangalkabya`
wherein he charted the routes of the river Ajay
and the river Ganges in detail.
Authors Own Experiment and Observations
in the Fields of Socio-cultural and Religion
Belts Mapping :
After learning from the aforementioned
scholars Dr. Asutosh Bhattachacya and Or. AM
Sur mentioned before, it became evident to the
author that such a mapping should be conducted
in and around the KenduVi village of Birbhum in
West Bengal and thereafter through entire Bengal
and the same had to be done in and around the
Kenduli village of Prachi valley in Orissa. Thus
he embarked on a rigorous exploration of the
Vaishnavism in Bengal practised by the adherents
of the Padabali Sahitya` and the Vaishnavites
of Sri Chaityanyadev`s followers; and on the other
hand to explore the Vaishnavites of Orissa and
the massive influence on the masses of Sri
Jayadeva in Orissa. The first thing that became
apparent to the author that the Jayadeva temple
of Kenduli in Birbhum, West Bengal had no trace
of the Dasavatars or the Gitagovindam in the
terracotta sculptures found in that temple. The
closest Vaishnavites temple to Kenduli was at
llamabazar was a temple dedicated to Sri
Gouranga, i.e., Sri Chaityanyadeva. Thereafter
the other districts of West Bengal were also-
explored by the author for two decades and no
trace of Jayadeva`s Gitagovindam was found
among any of the Vaishnavites of West Bengal.
Furthermore, the central hub of the Vaishnavites
of Bengal was in the Nadia district of W.B. (West
Bengal), with its pivotal point at Nabadwip town.
If one consults the Rennel`s Map of the Rivers
of Bengal and East India` one will be surprised to
find that the present town of Nabadwip was on
the other bank of the Ganges. This fact was totally
ignored by the Vaishnavites of Sri
Chaityanyadeva`s sect. Consequently there were
mud houses and temples built up in the present
town of Nabadwip. Some of the mud houses
114
were named as Sri Chaityanyadeva`s house,
another after Raghunathsiromani`s house and so
on and the brick temple were designated in the
same manner: one in which Sri Chaityanyadeva
did his puja, another where Raghunathsiromani
did his puja and yet another as Trilochan Das`s
temple. They convenient ly ignored the
geophysical fact as well as the erosion of the river
Ganges and for further convenience`s sake they
conveniently forgot that there could be no mud
house existing for 600 years braving the ravages
of the sun, rain and wind just as there were no
brick temples 600 years ago. An interesting point
should be raised here: the Tantras made narrow
inroads among the Vaishnavites of Bengal from
the time of the Padabali Sahitya` and was well
est ablished the Vaishnavas during Sri
Chaityanyadeva`s time. The Vaishnavas secretly
practised Tantric rites and rituals alongwith the
Vaishnava rites and rituals but the induction of the
Tantras were kept secret and esoteric. This fact
came out into the open in Sri Gopinath Kabiraj`s
book wherein he stated clearly:
Antah Sakta, Bahih Saiva,
Sabhayam Vaishnava Matah,
Meaning a Vaishnav should be a Sakta, a
devotee of Goddess Kali (Agam Tantra)
according to the Tantras and behave outwardly
as a Saivite (Nlgam Tantra) and in a Sabha (a
mass gathering) one should behave and preach
the Vaishnavite religious tenets. It is not known
even among the scholars that the Vaishnavites of
Sri Chaityanyadeva`s sect in Bengal still practise
such Tantric sexual rites and rituals. The Tantras
were embraced equally by the Hindu Kulguru
Brahmins as well as the Vaishnavites. One incident
found in the Vaishnavite texts, once Krishna and
Radha were in rapt embrace under a Kadamba
tree in a secret grove. The news reached Ayaan
Ghosh (the husband of SriRadha) and he hastened
to catch the couple redhanded, but by the time
he reached the place SriKrishna metamorphosed
Himself into the form of Goddess Kali, the
Kuladevi (family deity) of Ayaan Ghosh. So Ayaan
did not advance farther and bowed to Goddess
Kali from a distance and retreated home. This
remote connection between Lord Krishna and
Goddess Kali was the beginning of Radha
Tantra`. This practice was exactly like the Hindu
Kulguru Brahmin`s Guruprasadi` system. For
example, the Gourigadan` or Gourikaran` which
is nothing but inducting a young virgin girl into the
Vaishnavite order by performing the Tantric sexual
act with her. Anyone wishing to know about this
in detail may consult the book Yyonavikriti O
Yyonaparadh` (Sexual Perversions and Sex
Crimes`) written by Sri Nandagopal Sengupta,
an eminent sociologist and a sub-editor of now
defunct Bengali daily Jugantar`.
On the other hand there is no incursion of
the Tantras in Jayadeva`s SriGitagovindam` and
the sex act is elevated to a Divine level. When the
author visited for the first time the Kenduli village
in the Prachi Valley in 1982-83 A.D., making a
break journey on the way back to Kolkata from
Hyderabad, he found that the stone temples there,
dedicated after Jayadeva, were full of stone
carvings and depicting the Dasavataras and the
SriGitagovindam, which were centuries older and
far more authentic than the terracotta temple
named after Jayadeva situated in the Kenduli
village in Birbhum (W.B.). He also observed that
in and around the temple at Kenduli in Birbhum
(W.B.) an annual fair was held in January each
year. It was a Bauls` fair (a band of itinerant folk
singers who embraced and extolled various
religions, e.g., Hinduism, Islam, Christianity,
Vaishnavism, etc., and there was no trace of
Jayadeva`s Dasavataras and the SriGitagovindam
just as these two great works by Jayadeva were
absent in the carvings of the terracotta tiles of the
115
temple at that site. The author was further
surprised to see and hear all the villagers around
the Kenduli temples situated in the Prachi valley
of Orissa sang the Dasavataras and the
SriGitagovindam of the Saint Poet Jayadeva at
evening time and those who could dance perform
their dancing with the singing. The dances
originated from the classical Odissi dance which
was solely based on Jayadeva`s work. Here the
author wishes to take his hat off and prefer Ajit
Kumar Tripathy, I.A.S, a scholar-historian who
has seen the temples in Orissa`s Kenduli in far
more detail and has also published a booklet on
it, replete with photographs. The author had the
opportunity to observe the Kenduli temples in
Prachi valley (Orissa) for only about 12 hours
(morning to evening) whereas Ajit Kumar Tripathy
had the privilege of inspecting the temples and
the surrounding vista in far more detail and for a
longer time than the author did. The author wishes
that after this dissertation, Ajit Kumar Tripathy
would come to the podium and enlighten the
audience with his immense knowledge about the
Kenduli temples in the Prachi valley.
Later during 1985-86 when the author was
roving extensively all over Orissa for his exclusive
and pioneering research on the folk and tribal
puppetry in E. and N.E. India, he found that the
Dasavataras and the Sri Gitagovindam were
widespread all over Orissa in every town, village
and temple. The classical form of Odissi dance
was based on the Dasavataras and the Sri
Gitagovindam. The author was further surprised
while conducting his research on folk and tribal
puppetry he had to tour South India extensively
where he saw all the classical dances of South
India, e.g., Bharatanatyam, Mohiniattam,
Kuchipudi, etc., had the Dasavataras and the
SriGitagovindam as a major factor in their dance
repertoire. Though it is well known that the
Kalinga Empire later named as the Utkal Rajya
had a close connection with the South-Indian
Empire like the Chola, Chalukya, etc., how come
that besides the South Indian deities Jayadeva`s
Dasavataras and Gitagovinda were so deeply
ingrained in their art, culture and religious ethos,
whereas Sri Chaityanyadeva`s Vaishnavism or its
previous Vaishnavism as found in the Padabali`
literature of W.B. were particularly absent ? And
while touring the North and N.W. India, the author
was equally surprised to find that in Brindavan,
Mathura, etc,, extending upto Dwaraka in Gujarat
the cult of Jayadeva and his Dasavataras and
Gitagovindam was equally regarded as an epitome
of the Divine Love between Lord Sri Krishna and
SriRadha. Also while touring N.E. India the author
found that even in the faraway state of Manipur
the Vaishnavites performed the Dasavataras and
Sri Gitagovindam in the Manipuri song and dance
form although they were initiated and groomed
into Vaishnavism since their adolescence at the
Manipur Parha (locality) situated in the Nabadwip
town in West Bengal, especially reserved for the
Manipuris. It convinced the author that Jayadeva
was not born in Bengal because Bengal had its
own social, cultural and religious rites and ethos
after the invasion by the Pathans. Therefore, the
Bengalis confined their religious rites and rituals
including the marriage ceremony within themselves
whereas on the other hand, the Kalinga Empire
later reduced to Utkal and now named as Orissa
was far more open minded and mixed easily with
the rest of India. Kalinga Empire was stretched
from the Andhra Pradesh to the foothills of the
Himalayas including Siliguri of the present day.
So both the Kendulis (one in Birbhum district of
W.B. and the other in the Prachi valley of Orissa)
were under the same empire and the author
surmises what the confusion arose from. This
simple fact confused the scholars of Bengal
(except those mentioned before) that the Kenduli
village was in Birbhum district of W.B.
presumably because they did not conduct
116
extensive surveys as found in the older maps;
Otherwise they would have found that one of the
forms of classical dances in India, the Odissi dance
prevalent all over Orissa, had its origin from
Jayadeva`s Gitagovindam and Dasavataras. Still
now these two magnum opus have remained as
the mainstay of the Odissi dance.
It is also a quandary why Udayan Acharya
translated the Gitagovindam in the Oriya language
only about half-a-century after Jayadeva`s death
whereas all the Sanskrit knowing Bengali scholars
took nearly 400 years to translate Jayadeva`s
work into Bengali. In this context, it is further noted
that Jayadeva was at his prime during the reign of
Raja Ballal Sen of the Sen Dynasty` of the Sen`
period and was also active and alive till the reign
of Lakshmana Sen the 1st and visited the courts
of both two rajas where he was received and
given ample gifts for his poetic talent on
Vaishnavism . If such a great poet would have
been born in Bengal, Raja Ballal Sen would have
given him the post of Court Poet and Poet
Laureate. This is further bolstered by the fact that
finding the disappearance of Vedic studies in
Bengal Raja Ballal Sen invited and brought five
Vedic scholars from Kanyakujva later renamed
Kanauj. He would not let a poet like Jayadeva to
slip out of his hand. He had no other option simply
because Jayadeva was not born in his kingdom
Banga which included Rarh, Barendrabhum,
Samatat, Sumhma, etc.,but was born in the Utkal
Rajya`s Kenduli village in the Prachi valley. It is
true that the Saint Poet Jayadeva came to the court
of Lakshmana Sen the 1st and proved his religious
and poetical talent. He was regaled and amply
reqarded by Lakshmana Sen the 1st but Dhoyi
Sen became the Court Poet of Raja Lakshmana
Sen the 1st and the 2nd because he was born
and brought up in Bengal and his father Kusali
Sen shifted his abode from Rarh to Bejerdanga.
He was much younger than the Saint Poet
Jayadeva. It is also to be noted in this context
that the Sanskrit language as is found in the five
all-time great Sanskrit poets were grammatically
correct and not suitable to be set into tune with
which dancing could have been possible except
the Sanskrit of Jayadeva. Even Kavi Kalidas`s
works are difficult to be set in tune let alone Dhoyi
Sen`s, the 26th generation predecessor of the
author.
Now the author of this article wishes to delve
into the biography of Sri Jayadeva compiled by
Late Satischandra Mukhopadhyay and Late
Upendranath Mukhopadbhyay. This duo were
both Vedic and Sanskrit scholars. They published
the Upanishadas, t he Bramhasut ra
(Vedantadarsan) and many other Vedic and
Sanskrit texts with Bengali translations. They
founded the vernacular (Bengali) daily newspaper
Basumati`, the monthly journal Basumati` and
started the Basumati Publishing House through
which they disseminated, printed and published
such scholarly work. Both were highly meticulous
and translated the Vedic and Sanskrit works in
Bengali as much as possible. They compiled the
so called authentic Bengali scholars` versions of
the biography of Jayadeva and Upendranath
Mukhopadhyay compiled these works in the
foreword and preface of the SriGitagovindam.
Now the author wishes to delve into the in-depth
study of the compilation of such biography on
Jayadeva t o point out the anomalies,
contradictions and errors found in that biography.
Hence it is evident from the previous proofs
and circumstances stated till now by the author
do not tally with the comprehensive biography of
the Saint Poet Jayadeva, written by several
Bengali scholars well versed in the Sanskrit
language. It will be further apparent when the
compilation of all such biographies by Late
Upendranath Mukhopadhyay mentioned
117
previously who while translating and publishing
the Gitagovindam elaborated on the biography
of the Saint Poet Jayadeva in the preface and
foreward of the Gitagovindam. Now it is
imperative to delve into that biography compiled
by Late Upendranath Mukhopadhyay by taking
up all the anomalies and contradictions which are
further away from the fact. The first point that
comes into consideration is that the Bengali
scholars familiar with Sanskrit have stated that
Jayadeva was born in the Kenduli village of
Birbhum of W.B. The author`s humble question
is that those scholars did ever visit the Kenduli in
Prachi village of Orissa? In that compiled
biography by Late Upendranath Mukhopadhyay
the compiler stated that the Bengali scholars
believed that Sri Jayadeva was alive up to the
15th century A.D., which is absolutely untenable
according to the historical facts. Such a glaring
error and anachronism is rarely found in any
historical recording. That is why Late Upendranath
Mukhopadhyay states boldly that that fact is an
untruth and added his own opinion that the Late
Dhoyi Sen one of the all-time great Sanskrit poets
was the Court Poet of Raja Lakshmana Sen which
dates back to some 300 years ago than as
believed by the Sanskrit knowing Bengali
scholars. So, it can be certainly concluded that
the first anachronism among the Bengalis scholars
began on this very point.
Late Upendranath Mukhopadhyay further
stated that according to Alankarsastra`, written
under the order of Raja Manikyachandra, it is
clearly found that the Saint Poet Jayadeva was
the Court Poet of Utkalaraja. Then how come
that a poet of the stature of Jayadeva was born in
Bengal and became the Court Poet of Utkalaraja
whereas Dhoyi Sen was the Court Poet of Raja
Lakshmana Sen ? Lat e Upendranat h
Mukhopadhyay further stat ed t hat in
Saduktikarnamrita` a literary work by Sridhardas,
son of Batudas, a great feudal zamindar in Raja
Lakshmana Sen`s time Sri Jayadeva was the
Court Poet of Utkalraja. Then how any real
scholar can believe that the Saint Poet Jayadeva
was born in Bengal and lived up to the 15th century
with a life spanning more than 500 years ? A very
old version of the Gitagovindam states clearly that
the Saint Poet Jayadeva was honoured as
Kaviraj` (King among the Poets) during the reign
of the monarch Lakshmana Sen. It is mentioned
in Srichaitanyacharitamrita` that Mahaprabhu
Srichaitanyadeva on reading Jayadeva`s
SriGitagovindam felt a divine pleasure and from
time to time he explained to his followers the
significance of the Divine Lover found in
SriGitagovindam. From that it is easily inferred
that the Saint Poet Jayadeva was far more ancient
that Sri Chaitanya Mahaprabhu. Therefore Sri
Upendranath Mukhopadhyay felt clearly that Sri
Jayadeva was born centuries before Sri
Chaitanyadeva.
In Bhaktamala` the oldest existing book
among the Bengali Vaishnavites it is clearly stated
that the Saint Poet Jayadeva took sannyasa at a
tender age and left for Jagannathdham (now
known as the Jagannath Temple at Puri) and
devoted himself into the serving of Lord
Jagannath. The king of Utkal regarded Jayadeva
with a very high honour and felicitated him as the
Court Poet. Lord Jagannath was moved by Sri
Jayadeva`s devotion.
Sri Jayadeva had a huge band of followers
in Orissa. Sri Jayadeva had no wife and was
leading the life of a sannyasi. Thus he was bereft
of any offspring. A brahmin brought his daughter
Padmavati (born out of Divine Grace and
blessing) to Jagannathdham to offer his daughter
to Lord Jagannath. He received a Divine Order
that his daughter should be offered to Jayadeva
for marriage. That brahmin wished to offer his
daughter to Jayadeva did not wish to enter into
matrimony or familial relation however. The
118
brahmin left his daughter with Jayadeva and went
away. Jayadeva told Padmavati that as her father
had left her at his abode she should not remain
alone with him and under his care. 'Please tell me
where you wish to go. I will escort you wherever
you want to go. Padmavati responded that her
father had left her at Jayadeva`s abode on Divine
Order and offered her to Jayadeva. Therefore
she contemplated Jayadeva as her destined
husband and desired nothing but to be his wife
and serve him wholeheartedly as a soulmate.
Hearing this Jayadeva was unable to desert
Padmavati and thereafter married her as his fate
was destined. Thus Jayadeva became a man with
a family and in their hearts they felt the Divine
Love of Lord Sri Krishna and Sri Radha which
increased day by day and finally culminated into
Gitagovindam. Thus it is apparent that a Bengali
with religious leanings those days would not marry
anyone except a Bengali whereas Jayadeva
married an Oriya girl which is in absolute contrast
with any Bengali with any form of religious leanings.
While writing Smaragarala Khandanam
Mama` Jayadeva was perplexed that how Lord
Krishna can be pardon to SriRadha. Thinking
about it he went out to the river for his bath.
Padmavati was surprised to see Jayadeva
returning so soon and asked, 'Sir how come that
you return from your bath so quickly? Sri
Bhagaban in the guise of Jayadeva envisaged the
trouble faced by Poet Jayadeva in completing the
quatrain. So He replied that the ending of the
quatrain suddenly came to his mind and lest he
forget he came back to write it down and would
go out again to take his bath. Then Poet Jayadeva
returned from his bath in due time. He was
surprised to find the quatrain was completed with
two words, Dehi Padapallavamudaram`. He
asked Padmavati that if she had written the words.
When Padmavati said no Jayadeva asked again
if anyone had entered the room during his absence
and written the words. Padmavati said- No there
was nobody in the room except you when you
returned quickly without having your bath.`
Poet Jayadeva realized that it was written
by Sri Bhagaban or Lord Ganesha as was the
case while writing the Mahabharata by Vedavyas.
Jayadeva was highly delighted to see the quatrain
being finished in such a Divine manner. He was
so overwhelmed that he went into a trance. After
regaining his senses he told Padmavati, 'You are
the blessed one. You had the Divine and unique
opportunity to see Sri Bhagaban whereas I was
unable to see him unfortunately. But any Bengali
Vaishnavite would not or could not write such
word or accept them. This is a distinct difference
between Jayadeva on one hand and the Bengali
Vaishnavite on the other. Therefore a definite
inference can be made out of this fact that Poet
Jayadeva was born not in Bengal but in Utkal.
Hearing the singing of Sri Gitagovindam
which is full of Divine Love and Bhaktirasa the
people all over India were enraptured by a Divine
Spirit flowing through their mind and body. A
peculiar incident will be given here from the
biography of Jayadeva. In one garden in Orissa a
female gardener was singing the Gitagovindam
wholeheartedly which moved even Lord
Jagannath to leave his temple at Puri and going to
that garden where the malini (female gardener)
was singing the Gitagovindam and was so much
moved that He went into a trance and did not
notice that His dress was smeared with dust, mud,
blades of grass and thorns out of brinjal plants.
On the very next day when the Utkalaraja (king
of Utkala) entered temple he found that Sri
Jagannathdeva`s dress has become so much full
of dust and dirt. He questioned the pandas
(priests and sevayets) about the reason behind it.
In answer he heard a Divine voice which the Raja
that Lord JagannathDeva so much moved and
overwhelmed by hearing the sound of malini.
Furthermore he was ordered by the Divine voice
to fetch that malini to the Jagannath Temple so
119
that Lord Jagannath can hear singing the
Gitagovindam every day. By the king`s order a
palanquin was sent to fetch the malini so that she
could sing the Gitagovindam every day in front of
Lord Jagannath in His temple at Puri. Till today
the signing of Gitagovindam is performed every
morning in the Puri temple. The day when that
ritual is not performed the Puja to Lord Jagannath
remains incomplete and impure. There is no
temple in Bengal where such an incident has ever
reported to have happened. Such Divine Grace
which fell on Jayadeva and the incident of the
Utkalraja are both described in the most authentic
Bengali Vaishnavites` book the Bhaktamala`.
The same book describes that Poet Jayadeva
lived a simple and poor village life. In order to
collect funds so that he could worship his
RadhaMadhaba (his family deities) and thus came
to the court of Sen dynasty in Bengal as well as in
the courts of other kings of Eastern India. He was
never made a Court Poet or Poet Laureate by
the Sen Dynasty kings of Bengal but was given
ample funds and gifts for his literary talent and his
saintly behaviour.
Once Jayadeva had an earnest wish to go
to Vrindavan (the which was the Leelakhetra of
Lord Krishna and SriRadha alongwith the
Gopinis. So he took leave from the Utkalaraja
and wearing a sacred thread around his neck to
which the images of RadhaMadhaba were tied.
He went to Vrindavan and put everyone there in
a Divine trance and piety with the singing of the
Gitagovindam. Therefore the Gitagovindam was
spread all over North and North-west of India
and also particularly in Dwaraka in Gurjar Rajya
(now Gujarat). Thus SriGitagovindam and the
Dasavataras were spread all over India and
everyone revered these two works and imbibed
the spiritual mood of Jayadeva in their art, culture,
lifestyle and religious practices. While at Vrindavan
Poet Jayadeva used to pray daily to his
RadhaMadhaba images near the Kesighat. Later
a devotee of Jayadeva installed the images of
RadhaMadhaba and built a temple. Much later
the Raja of Jaipur shifted the images to a place
named Jaipur Ghati and built a temple thereon.
Toward the end of his life Saint Poet Jayadeva
came back to his native village Kenduli. In order
to have his daily bath in the river Ganges he had
to walk 36 krosas (72 miles) everyday.
This great anomaly in the most authentic
biography of Jayadeva is really surprising and
startling. The author humbly questions how can
an old man walk 72 miles every day for his daily
bath? Furthermore it is stated in biography that
one day Jayadeva was feeling unwell so the sacred
river Ganges and Divine mercy on him and started
flowing close to his house. This unusual statement
and erroneous statement easly prove to be wrong
because the river Ganges never flowed in the
Prachi valley of Orissa. This can be proved with
the aid of Ptolemy`s Gangaridae Map, Rennel`s
Maps, Bipradas`s Manashamangal, etc. The
simple inference from this glaring contradiction is
was not the river Ganges but the river Prachi which
flowed close to Jayadeva`s Kenduli village abode
in Orissa. Later research has established, as
mentioned by Late Prof. Dr. Bhagabat Prasad
Tripathy that Prachi has been referred to as Utkal
Ganga in many of the Purans. Thus the Bengali
Vaishnavite and other scholars made a glaring and
erroneous mistake.
After presenting all the above proofs the
author meekly believes that no one with as
scholarly bent of mind will ever think the Kenduli
in Birbhum (W.B.) was the birthplace of Saint
Poet Jayadeva. The real birthplace of Jayadeva
was in the Kenduli village of the Prachi valley in
Orissa. This article has attempted to prove and
establish this fact amply and the author wishes to
conclude this article with his humble regard to this
august assemblage of scholars.
Gurusadaya Museum,
Joka, Kolkata
120
The Madhava, one of the synonym of Vishnu or
Sreekrishna or Govinda is mentioned in several
ancient texts like Padma Puran, Markandeya
Puran, Bhagavat Puran, Brahmavaivarta Puran,
Narada Pancharatragama etc. etc. The worship
of the God Madhava is rich in the tradition of
Orissa, particularly in Prachi Valley, Jaipur and in
the localities of the coastal Orissa. The cults of
Vishnu were named after Madhava only after
Orissa came in contact with Ramanuja as claimed
by Satyanarayan Rajguru. Dr. H. C. Das, a noted
scholar also established the concept of Madhava
worship in Orissa which has been originated from
a very old time. The archaeological evidences also
proved the worship of Madhava in the form of
Vishnu from the period of Matharas, the
contemporary of Guptas. Further, copper plate
grant of Madhavaraja of Shailodbhava dynasty
is referred to Madhava worship, during the period
of Shailodbhava dynasty. Vishnu was described
with its twenty-four incarnations where
Chakrayudha Madhava, one of the incarnations
of Vishnu was given much importance. The
adoption of the title as Madhava by the rulers
proved the popularity of the cult of Madhava in
Orissa.
The image of Madhava derived from the
legend is associated to Lord Jagannathadeva. The
legend says Viswavasu who belongs to a Sabar
Gita Govinda : A Devotional
Homage to Madhava
Asis Kumar Chakrabarti
tribe had worshiped Nilmadhava on the blue hill.
It was later on converted to Purushottama
Jagannatha made of Neem wood. The legend is
known widely in Orissa and outside. Vishnu in
Orissa was recognised as Madhava on the
background of the legend. The cult of Madhava
is closely associated with the social, cultural,
literary and religious life of Orissa. It was certainly
accepted by the great poet Jayadeva in his heart
and soul. Sri Jayadeva was born in the village
Kenduli or Kenduvilva which immensely
surrounded by the cult of Madhava spread all over
the place of the river Prachi Valley which had fed
him enough encouragement and inspiration to
compose the melodious and immortal verses of
Gita Govinda. Jaydeva had lived during the rule
of Kamarnab Deva (1142-57 A.D.) and Raghab
Deva (1157-70 A.D.), two rulers of Ganga
dynasty. The rulers were contemporary to Kings
Bijoy Sen and Ballal Sen, the rulers of Sen dynasty
of Bengal.
Sri Jayadeva, being a devotee of Madhava,
Krishna and Jagannatha developed Indian
literature by his immortal writing of Gita Govinda.
The cult of Madhava delighted the poet who could
listen the melodious flow of vocal sounds waved
around him. Gita Govinda with its twelve Cantos
and twenty-four Gathas or Padavalis or Astapadis
was treated as an outstanding work in Eastern
121
India and even in far off Kashmir in the dawn of
12th Century A.D. Ballava Dev of Kashmir had
complied an anthology named Subhasitavali in its
final form before 1134 A.D. He had referred four
slokas of Gita Govinda in the said anthology.
Considering the reference, the scholars confirmed
that Jayadeva of Gita Govinda was recognised
as a poet of eminence in 1100 A.D.
The Gita Govinda is a true example of the
relation between devotee and his God expressed
through a dedicatory ballad perhaps unparallaled
in Indian literature. Being impressed by the
explanatory devotion and romanticism of Sree
Krishna focused in the twelve chapter of Sreemad
Bhagavat, Jayadeva on the basis of his love with
his wife Padmavati wrote Gita Govinda based on
the romanticism of Sree Krishna as expressed in
Spring. Following the rhythm of Gayatri, Jayadeva
wrote the eternal love of Radha and Krishna in
the form of Astapadi as expressed in the Gita
Govinda consists of twelve cantos. At the very
out set, Jayadeva in the preface of the Gita
Govinda said -
Yadi Harishmarane Sarasang mono
Yadi Vilasakalasu Kutahalam
Madhura Komala Kuntapadavaling
Srinu tada Jayadeva Sarasvatim
"Oh, devotee, if you would like to have a lively
heart by recollecting Sree Krishna, if you have a
curiosity for learning luxurious art of education, then
please listen the notes as written by Jayadava following
the characteristics of lovely, soft and romantic as
expressed through padavalis."
The Dasavatar Stotra of Poet Jayadeva is
remarkable because it, in one way consist of
uniquely melodious for its tunal quality and in other
way interested the listener to devote them towards
their devotion for Sree Krishna by chanting the
following :
Pralaya-Payodhijale dhritavansi Vedang
Vihita Vahitra - Vichitra rnakhedam
Kesava ! Dhrita meenasareera
Jaya Jagadisa Hare
Apart from this, explaining of romanticism
prevails in Spring as well the expression of Radha
towards affection and love for Sree Krishna really
touched the heart and compelled to realise the
flavour of the eternal love.
Padmavati, the wife of Sri Jayadeva out of
her genuine love to her husband impressed for
writing the immortal Gita Govinda which is
consists of twelve cantos, twenty-four gathas and
eighty slokas. The first canto express the
melancholy of Radha for Sree Krishna. The
second canto we find both Radha and Sree
Krishna feels melancholy on one way and eager
to meet together on other way. The third canto
deals the anxiety of Sree Krishna for Radha. The
fourth canto narrates one of the mates of Radha
appeared before Sree Krishna for describing the
mental condition of Radha. In the fifth canto, we
find Sree Krishna is waiting for Radha. In the sixth
canto, we find the description of the shameless
mind of Sree Krishna. The seventh canto
describes the sadness of Radha for the absence
of Sree Krishna. The eightth canto describes the
sentimental mood of Sree Radha. The nineth canto
narrates the feeling of Radha for the removal of
the sentiment by Krishna. The tenth canto
describes the removal of the sentiment of Sree
Radha by Krishna. The eleventh canto narrates
the expectation for holding a festival on account
of the forthcoming meeting of Sree Radha and
Sree Krishna. The concluding canto describes the
eternal meeting of Radha and Krishna. The
compose of Gita Govinda was successfully done
by Sri Jayadeva due to the true love of his wife
Padmavati, the daughter of Vishnusharma, a South
Indian Karnati Brahmin who became her father
122
by the grace of Purusottam Jagannatha Deva.
Unless the grace of Purusottam Jagannatha, Bhoja
deva and Bama devi, the parents of Jayadeva
could not be able to give birth to their well-known
son who wrote the immortal Gita Govinda. The
village Kenduvilva or Kenduli, the birth place of
Jayadeva in the valley of the sacred Prachi river
in Orissa was very much famous for worship of
Madhava. The natural surrounding and tradition
of Madhava worship gave him enough inspiration
to write lyrical verses of Gita Govinda. Madhava
was his love, devotion, pleasure, goal and above
all the whole inspiration for the immortal creation
of Gita Govinda. The cult of Radha-Madhava
which was in existence turned to be more popular
by the devotee poet Jayadeva. To him Madhava
was no other than Krishna who was known earlier
as Gopinatha whose cult became popular in Orissa
from the time of Jayadeva. This influenced and
riched not only Oriya literature, but also the
literature, art, sculpture and crafts in later stage.
Further, it influenced the development of art,
sculpture, craft including literature of the other
state of the country too in later stage. The
description of Dasavatara or ten incarnations of
Vishnu or Krishna is excellent and heart touching
in Gita Govinda. It is really exciting to know that
there are ten villages around the village of Kenduli
named after the Dasavatara or ten incarnations.
In view of the controversial issue on the birth
place of Jayadeva, scholars claimed Kenduli in
Birbhum district of West Bengal as the birth place
of Jayadeva, we should not accept their claim as
they could not produce sufficient proof in support
of their claim. According to historian Kedarnath
Mahapatra, Makar Samkranti festival at Kenduli
of the district Birbhum of West Bengal has its origin
only in 18th Century A.D. This was probably
began by the initiative of a devotee of Sree
Chaitanya in imitation of the festival on Makar
Samkranti near Niali Madhava which was visited
by Sree Chaitanya and his followers every year
for performing Kirtan in the nearby village of
Kenduli, the birth place of Jayadeva in Orissa. A
terra-cotta temple of C. 18th Century A.D. still
in existence in the village Kenduli of the district
Birbhum of West Bengal has no plaques depicting
the motifs of Dasavatara as one can find this in
the village Kenduli of Orissa still now in existence.
Not only in Kenduli, there are numbers of temples
in Orissa depicting the motifs of Dasavatara. In
view of the ethno-cultural aspect, no practise of
Sanskrit culture prevailed at Kenduli village of
Birbhum in 12th Century A.D. rather practise of
non-Sanskrit culture was the prevalent feature of
that place and its adjoining areas which remained
popular among the lower caste people. It was
Sree Chaitanya who out of his neo-Vaisnavite
movement converted them into Vaisnava faith in
16th Century A.D. after 400 years of the death
of Jayadeva in Kenduli of Orissa.
A sloka written by Jayadeva in Gita Govinda
is interpreted that Umapatidhara, Jayadeva,
Sarana, Acharya Govardhana and Kabiraj
Dhoyee were the poets in the court of Laxman
Sen, the King of Bengal. It is stated that Sanatan
Goswami, a disciple of Sri Chaitanya had
witnessed the said sloka in an inscription in the
assembly hall of the King Laxman Sen. According
to the history of Bengal, as the capital of Laxman
Sen was destroyed by Md. Bin-Ikhtiar-Uddin
Bakhtiar Khilzi in 1200 A.D. how it was possible
on the part of the Goswami to have seen the
inscription after 400 years. In the context of this
fact the association of Jayadeva, the poet of Gita
Govinda in the court of Laxman Sen cannot be
accepted as true. Because, Laxman Sen, the ruler
of the Sen dynasty of Bengal had ascended the
throne in between 1179-1185 A.D. This was
about 100 years after the birth of Jayadeva.
Professor Suniti Kumar Chattopadhyay,
Professor Sukumar Sen, Professor Ashutosh
123
Bhattacharjya, Professor Atul Sur, all of them
scholars of dignity asserted that the poet Jayadeva
was an Oriya and he belonged to Kenduli of
Prachi Valley of Orissa and never a poet in the
court of Laxman Sen. Dr. Kapila Vatsyayan, a
noted scholar in the cultural arena confidently
accepts Jayadeva to have born in Kenduli of
Orissa and not in Kenduli of Birbhum district of
West Bengal so far and so on. Dr. Vatsyayan
during her visit to Calcutta in the late 70`s enquired
to have an information from me about the
existence of scroll painting on Jayadeva`s Gita
Govinda in Bengal. In view of such enquiry, Patua
Sangeet, a volume on the scroll paintings of
Bengal, written by Sri Gurusadaya Dutt, I.C.S.
(1882-1941) was studied and researched by
procuring information from the large collections
of scroll paintings on the various subjects kept in
the Gurusaday Museum lying at t he
Bratacharigram founded by the Bengal Bratachari
Society, a philanthropic institute of national repute.
No single scroll painting on the story of the
Jayadeva`s Gita Govinda was found there. As
there was no such scroll painting in existence and
available in other museums of West Bengal, I was
entrusted with the request to prepare a scroll
painting on Jayadeva`s Gita Govida alongwith the
script which usually the scroll painters used to sing
during the presentation of the scroll before the
rural mass for enriching their oral and visual
education. The task was completed by Harendra
Nath Chitrakar of the village Maligram under P.S.
Pingla of the district Midnapore of West Bengal.
The said scroll painting on Jayadeva`s Gita
Govinda alongwith the script was sent to Dr.
Vatsyayan at her office of the Centre for the
Cultural Resource and Training, New Delhi and
received a thankful acknowledgement for such
work.
Further, Dr. N.S.R. Ayenger in his book
Sacred Profanities : A Study of Jayadevas
Gita Govinda` which contains the original
Sanskrit text and his own English Translation has
said, Recent studies and researches, however
tilt the balance in favour of Orissa with conclusive
proofs.
References :
1. Sri Bimal Krishna M. A, The Gita Govinda and
Its Author.
2. Sri Kedar nat h Mahapatra, Location of
Kenduvilva, the Birth Place of Kabiraj Jayadeva.
3. Ibid, Sri Jayadeva O Sri Gita Govinda.
4. Dr. Satyanarayan Rajguru, Mahakabi Jayadeva
O Gita Govinda.
5. Sri Ajit Kumar Tripathy, Historical Perspective
of Saint Poet Sri Jayadeva. Article published in
0RHJ, Vol. XLVI. No.1.
6. Dr. Subas Pani, Orissan And Early Sources For
Study of The Text of Sri Geeta Govinda of
Jayadev, Article published in ORHJ, Vol. XLVI.
No.1.
7. Dr. H. C. Das, Sri Jayadeva and the Cult of
Madhava.
8. Sri Prafulla Chandra Tripathy, The Gita Govinda
in the History of Srimandira, Published in ORHJ,
Vol. XLVI, No. II.
9. Dr. Krishna Chandra Bhuyan, The Cult of
Madhava and the Poet Jayadeva, Published in
Folklore Research Journal, Folklore of Orissa :
Special Number 9, Kolkata.
10. Dr. Satyakam Sengupta, Obtained various
information`s and sources for the study of the
Jayadeva and Gita Govinda.
Guru Sadaya Museum,
Joka, Kolkata
124
Section-I
The introductory poem is the gateway to
Jayadeva`s magnificent dramatic lyric- The
Gitagovinda. The first stanza of the poem
explicates in a very lucid and matter-of-fact way
the background on which the entire lyric drama
rests:
Megheirmedurambaram vanabhubah
Shymastamala drumair
Nakta bhirurayam stameba tadimam
Radhe gruham prapaya
Itham Nanda nideshaschal itay oh,
Pratyabdha kunja drumam
Radha madhavayoi jayanti yanmna kule
rah ah kelayah.
1
The cloud-dark sky darkens the woods
The lofty shade of lamala trees
Deepens the darkness.
This uneasy night frightens him, Radhe!
Get him home, beseeched Nanda
Trudging along the thickets,
Radha and Madhava long for each other,
And unite on the banks of Yamuna.
(Trans.: Ayengar)
This stanza sets the atmosphere. The
overcast sky darkens the shady woodlands, the
green tamala trees look frighteningly dark and
such a dark and stormy evening induces fear in
The Introductory Verse of Gitagovinda
Dr. N.S.R. Ayengar
the child (Krishna). Therefore, his foster father,
Nanda, beseeches Radha to take him home.
Radha and Krishna, being so directed trudge along
the thickets on the banks of Yamuna where they
secretly unite. The dark cloud, rain and storm are
elements enough to rouse their longing for union.
Their relative loneliness too provides an opportune
privacy for the consummation of their love.
What is immediately striking is the glaringly
incoherent syllogism of the stanza. The first two
lines suggest that Krishna being a child is afraid
of darkness and storm. Nanda`s concern for him
too exemplifies him as a caring parent. But the
last two lines stand utterly out of joint with the
earlier train of thought, and shocks us out of
complacency when we hear that Radha and
Krishna unite secretly on the banks of Yamuna.
One is assailed by a barrage of questions such
as: if Krishna was a child what kind of union did
he have with Radha ? Was Jayadeva not
conscious of such a contradiction when he
composed these lines ? Could he have committed
such a grievous mistake? Again, why Nanda`s
stress falls on Radha when he directs her saying:
'Stameba tadimam Radhe gruham prapaya
(Radha you alone take him home). Did Nanda
feel that the child-Krishna is safer in the custody
of Radha than himself ? These mind boggling
questions are hard to answer. One either has to
125
discuss the stanza as the product of an incoherent
mind or one must suspect that there is more to it
than meets the eye or the ordinary human logic
can explain. Since the first possibility is ruled out
(for we cannot impute Jayadeva with incoherence)
we are left with the second - to explore the
possible sources which may have influenced
Jayadeva. One such source is Bramhavaivarta
Purana.
The stanza in question begins with a distinct
echo from Brahmavaivarta Purana, which
described the episode in the following way:
Ekada Krishna Sahita Nanda Vrindavanam jajau,
Tatra pavan bhandire charayamasu gokulam
Sarahsuswadu toyascha payayamasa tat papau,
Uvasa batamulecha balam krutva Swakakhyasi,
Etasminanthare Krishno Mayabalaka Vigrahah,
Chakara Mayaya Kasman meghachanam nabho mune
Meghabrutam Nabho drustva Shyamalam kananatharam,
Jhanjavatam meghasabdam, vajra sabdam cha darunam
Brutstidharamatisthulam Kampamanascha Padapan,
Drusterbam patita skandan Nando bhayamabapah
Katham Jasyami gobatcham vihaya svasramam prati,
Gruham yadi Najasyami bhabita balaksya kim
Ebam Nande prabadati ruroda Sri Haristada,
Mahabhiya bhayebhischa pituhkantham dadharasah
Etasminaftthere Radha Jagam Krishna Sannidham.
Once Nanda took Krishna along,
Tending his cows to Vrindavan forest,
To feed them on pastures green
He gave Krishna the pond water sweet
Resting under banyan tree he sat
Holding Krishna close to his chest.
The playful child by his divine mystery,
Created dark clouds, that covered the sky.
The woodland darkened by the firmament deep,
Loud, lumbering thunder and fierce storm sweep.
Soon, them, joined rain, with a torrential gush
As if in tune, with their soul-shaking dance.
The frightened Nanda thought aloud:
How do I take them home, and
How protect the child ?
Sensing his thought Sri Hari wailed
Right at the moment Radha arrived,
That Gladdened Krishna`s heart, and surprised
Nanda.
(Trans.: Ayengar)
Later it adds, that Nanda on seeing Radha
remembers what Maharshi (Sage) Garga had told
him about the identity of his child Krishna and
Radha, who are none but Sri Hari and his divine
consort, who on a playful spree are enjoying
themselves a mundane existence casting spells on
everybody. In spite of this knowledge Nanda was
still under-a spell. Nanda realising the wish of the
divine couple tells Radha:
Gruhana prananathamcha gacha bhadre yatha sukham
Praschat dadasi Mat putram krutva purna manoratham
2
(B.B. P.5 : 25)
Oh gentle Radha! take your dearest love and go happily,
And give back my son after fulfilling your desire.
(Trans.: Ayengar)
It springs still greater surprise by revealing
the fact that Krishna who is a child for Nanda
becomes a handsome youth in the company of
Radha which justifies their longing and union.
According to Brahmavaivarta Purana, Krishna
and Radha had no adulterous relationship. They
were a regularly wedded couple, whose wedding
had been solemnized by no less a god than
Brahma himself. This resolves all the incoherences
and contradictions which disturbed the readers
in the first stanza. Also this explains Nanda`s
unusual emphasis on Radha alone taking Krishna
to safety (tvameba tadimam Radhe gruham
prapaya).
The illusory storm witnessed in the first stanza
was as much a spell of Krishna`s divine power as
much Nanda`s reckoning Him as a timid
dependent child. From this point on starts the train
of mysteries (Maya) and divine playfulness (leela)
which Radha and Krishna are associated with.
Jayadeva starts his Kavya` at this point and tows
126
the line of the myth assiduously. He seems to
suggest obliquely that the mystery of Radha and
Krishna is beyond human comprehension,
therefore, one should be wary while pronouncing
judgments on them in our ordinary human
parlance.
It is in this background that he proposes to
write his kavya` whose main theme is the love-
frolic of Vasudeva. Thus in the second stanza of
the poem, he partly invokes the goddess of
speech to come to his aid in writing the poem
which will enshrine the love-frolic of Radha and
Krishna, and partly introduces his wife Padmavati
who used to dance to the tunes of his
compositions, being in her own right a celebrated
dancer. The stanza goes thus:
Vakadevata charita chitrana chitasadma
Padmavati Charan Charan chakravarti,
Sri Vasudeva ratikeli katha semetam
Etam karoti Jayadeva Kavi Pravandham.
3
Inspired by the Goddess of speech
Jayadeva, the king of poets,
Whose songs impel Padmavati to dance
Sings this song
To tell the story of the love-frolick
Of Sri Vasudeva.
(Trans. Ayengar)
This stanza (second) is in perfect consonance
with first stanza in its content and spirit.
Now for a moment let us skip the third stanza
whose genuineness is questionable. We will return
to it after discussing the fourth and concluding
stanza. The fourth stanza begins with a conditional
clause, which also lends insight into what kind of
readers Jayadeva was writing his kavya` for. He
writes:
Yadi Hari Smarane Sarasam mano yadi
Vilas Kalasu kutuhalam,
Madhura komala kanta padavalim
Srunutada Jayadeva Saraswatim.
4
If remembering Hari sweetens your heart,
If you are curious about the art of erotica,
Listen, then, to the lyrics of Jayadeva,
Couched in sweet, tender, lilting lyrics.
(Trans. Ayengar)
This (fourth) stanza appears as a natural
conclusion to the poem. In its tone, texture and
language it sits squarely in the scheme of the poem.
The first stanza sets the atmosphere and
background of the kavya`, the second stanza
serves the purpose of invocation to the God of
Speech (which is in perfect conformity with the
poetic tradition), which also suggests the central
theme of the kavya` and the fourth stanza
concludes with a veiled warning that it is not
everybody`s cup of tea; it is only meant for those
whose heart gladdens listening to the love-story
of Hari, not for those who monstrously
misconstrue his intentions. Also the poet, in the
last line of the stanza, makes a modest claim that
his poems are couched in sweet and tender lyrics
- which he eminently lives up to.
Section - II
What is intriguing about the poem is its third
stanza. It seems an ingenuous interpolation and
therefore contentious. This stanza for all its
ingenuity serves no purpose in the poem. In its
tone, texture, content and diction it doesnot fit
into the architectonics of the poem. It creates a
jarring note, which is very uncharacteristic of
Jayadeva. After the invocation and proposal in
the second stanza such a stanza (the third one):
Vachah pallavati umapatidhara Sandharva
Suddhim giram
Janite Jayadeva eba Saranah Slaghya durahadrute
Sringarotra rasat aprameya Acharya Govardhana
Spardhi kopi na Visrutah srutidharo
Dhoi Kavi Umapatih.
5
127
Umapatidhara is known for his free flowing speech,
Saran for his subtle sounds,
Dhoyi, the king of poets for his music,
Jayadeva for the felicity of diction,
But Acharya Govardhan remains
The unrivalled master of erotic art.
(Trans.: Ayengar)
Seems utterly out of context. This stanza
could never have been there where it is now, for
it rends the total texture of the poem. Therefore,
in all possibility it is a later induction into the poem,
made by some commentator, calculated to serve
some ulterior motive. This is no surprise for
anybody, for an avid reader of The Gitagovinda
will certainly testify to the fact that the kavya` is
littered with interpolated verses usually at the end
of the poem. Some scholars opine that at the
behest of Lord Jagannath of Puri some of the
stanzas of Abhinava Gitagovinda authored by
Purushottama Deva, king of Orissa (in imitation
of Jayadeva`s Gitagovinda), have been prefixed
to the original kavya. But the suffixed stanzas are
neither harmoniously fused into the body of
Jayadeva`s poems, nor do they exhibit the felicity
of diction which is a characteristic Jayadeva style.
Neither stylistically, nor lyrically, nor even in their
thought content do they cohere with the poem.
What is more they flaw the original text by their
repetitive nature which in Sanskrit aesthetics, is
called samapta punarattata kavyadoshah.
The third stanza of the first poem is the
mainstay for those scholars who are bent on
proving that Jayadeva belonged to Bengal. The
names of the four poets mentioned in the stanza
such as: Umapatidhara, Sarana, Acharya
Govardhan and Dhoyi makes their imaginations
run wild and they find in it an excellent rallying
ground to drive home their thesis. These poets
(mentioned in the stanza), they maintain, were
associated with the court of Laxman Sena, the
king of Bengal. Since Jayadeva mentions the
names of these poets in his verse, they jump to
the conclusion, that he must have been their
contemporary and adorned Laxman Sena`s court.
This is a ludicrous` travesty of history. Even if this
theory is tentatively accepted, one is intrigued by
such questions as why then Jayadeva, who so
thoughtfully mentioned the names of his co-poets,
did no where mention the name of his patron king
Laxman Sena in his kavya` Historically speaking
this assumption is anachronistic. Jayadeva was
the contemporary of Bellala Sena, Laxman Sena`s
father, who reigned in Circa 1119-1169.
Umapatidhara, the first mentioned name, served
the Sena dynasty as a minister for three generations
viz. Vijay Sena (1072-1119), Bellala Sena (1119-
1169) and Laxman Sena (1169-1205). He is
often confused with the poet Umapati who lived
during 13th century. Halayudha Mishra in his work
Seikh Subhodaya
6
condemns Umapatidhara as
a thoroughly immoral person - a wretched
debauch. It is unlikely that a saintly poet like
Jayadeva could have mentioned in his kavya` the
name of a person who had earned so much
notoriety. And the poet called Umapati of 13th
century could not have been mentioned by
Jayadeva who belonged to 12th century.
Acharya Govardhan`s time is very difficult
to locate. He, like many other ancient Indian
poets, did not mention his time or place of birth.
However, the only clue to the periodicity of
Acharya Govardhana is found in a verse from his
Arya Saptasat i (verse no. 20) where he
acknowledges the contribution of his brothers,
Udayana and Balabhadra (who were incidentally
his students too), in compiling and editing Arya
Saptasati. Thus he writes:
Udayana Balabhadrabhyam Saptasatisishya
sodarabhyam me
Dworiba ravi chandrabhyam prakasita nirmali
krutya.
7
128
Which means Udayan and Balabhadra, my
students and brothers, who like the Sun and Moon
shone on my work {Saptasati) and purified it.
About Balabhadra nothing is known except this
stray reference. But two different stone
inscriptions found in Orissa - one in Megheswar
temple and the other in Sobhaneswar temple -
make references to Udayana. These inscriptions
were written under the orders of Rajaraja - II
(the third son of Chodagangadeva) who reigned
over Orissa from 1170-1190. Thus we can safely
surmise that since Udayana belonged to the late
12th century and early 13th century so should his
elder brother Acharya Govardhana. Udayana is
also famed to have authored the earliest
comment ary on Gitagovinda entit led
Bhavavinodini in 1190, which never saw the light
of the day. Dr. P.K. Dasgupta points out that
Acharya Govardhana may have been connected
with the king of Orissa for the simple reason that
Udayana was connected. He writes :
"And if this Udayana be taken as the brother of
Govardhanacharya, then Govardhanacharya should also
be taken as one connected with the king of Orissa during
12th and early 13th century.
"8
This naturally hints at the fact that Acharya
Govardhana was the late contemporary of
Jayadeva. Dr. Satyanarayana Rajguru maintains
that Jayadeva`s Gitagovinda must have been
writ ten bet ween 1146-1150,
9
which he
corroborates by citing historical evidences. He
observes that Kamarnavadeva who was reigning
over Orissa during 1142-1157, never had his food
without listening to the songs of Gitagovinda. It
is quite easy to surmise then that when the
Gitagovinda was written, Acharya Govardhana
must have been very young and perhaps had not
composed his Arya Saptasati which exemplifies
his ability for erotic art. In that case how could
Jayadeva eulogise Acharya Govardhana as a
master of erotica ? It seems quite likely that
Udayana while writing his Bhavavinodini
commentary on the Gitagovinda may have
introduced the third stanza of the first poem (as it
is available now) in order to praise his brother
and to enhance the literary merit of his work -
Arya Saptasati. Again in order to make it appear
more natural and authentic, he may have
introduced the names of the other poets prior to
and later than Jayadeva.
No documentary or historical evidence is
available to place Sarana in the proper
perspective. In the absence of any manuscript or
any other contemporary reference to him, it is
impossible to pass any judgement. Perhaps
Udayana knew some poet called Sarana and in
order to ingratiate him, he might have introduced
his name.
Now coming to Dhoyi, the last mentioned
name, whom the verse addresses as Kavi
Khamapati` (the king of poets), historical and
documentary evidences are available. He, it
seems, flourished during the reign of Bellala Sena
(1119-1169). Dhoyi`s major contribution was his
kavya` Pavanaduta (The Wind-messenger)
which was a frank initiation of Kalidasa`s
Meghauta (The Cloud-messenger). In Dhoyi`s
Pavanaduta a line is composed urging the wind
messenger to touch in Kalinga Nagari` on its way:
Kalinga myanusaranagarim namatam
rajadhani.
10
The wind messenger is requested to steer
its course through Kalinga-nagari` which was the
capital of Kalinga (former name of Orissa). If one
scans the history of Orissa it will be found that
king Chodagangadeva shifted the capital of
Kalinga` from Kalinganagari` to Varanasi
Cuttack` on the banks of Mahanadi around 1112
A.D. After this date Kalinganagari ceased to be
129
the capital of Kalinga. Therefore there is no
justification to call Kalinganagari as the capital.
But the line quoted from Dyoyi`s Pavanaduta
categorically states the name of Kalinganagari`
as rajadhani or capital. One is thus forced to
conclude that Pavanaduta must have been
written prior to 1112 A.D. This pushes Dhoyi back
to the time of Vijaya Sena. It is quite possible that
Dhoyi flourished between the reigns of Vijaya Sena
(1072-1119) and his son Bellala Sena (1119-69)
in which case he was a contemporary of Jayadeva.
It is likely that Jayadeva may have made a
reference to Dhoyi in the stanza under review.
But when his kavya` is examined holistically it
seem highly improbable. For, in the entire poem
he never mentioned any name other than his wife`s
and his parents`. Even he didnot make any
reference to any king - Oriya or Bengali. In fact if
Jayadeva wanted to pay his tribute to the earlier
poets whose literary models may have inspired
him, he could as well have eulogised Kalidasa,
Sriharsha, Bhavabhuti, why lesser poets?
Therefore the stanza is an intelligent interpolation
to buttress up and to give a literary (documentary)
authenticity to the oral tradition (misnomer) which
was prevalent in Bengal as :
Govardhanscha Sarano Jayadeva Umapati,
Kavirajascha ratnani Samitau Laxmanashyacha
11
References :
1. Miller, Barbara Stoler, edit. The Gitagovinda: Delhi:
Motilal Banarasidass, 1984, p. 129.
2. Vyasadeva, Brahmavaivartha Purana 15: 25.
3. Miller, Barbara Stoler, edit. The Gitagovinda, p.
129.
4. Ibid.
5. Ibid.
6. Halayudha Mishra. Seikh Subhodaya: Chapter 16.
7. Acharya Govardhana, Arya Saptasati, verse no.
20.
8. Dasgupta, P.K., Jayadeva and Some of His
Contemporaries, Calcutta: Sanskrit Book Depot
(P) Ltd., 1982, p. 58.
9. Rajguru, S.N. , Mahakavi Jayadeva ' O'
Gitagovinda (Oriya), Berhampur, Aska
Pustakalaya, 1995, p. 27.
10. Ibid., p. 80.
11. Ibid., p. 79.
Prefessor, Deptartment of English
Berhampur University,
Bhanja Vihar
Berhampur, Orissa
130
Kavi Shree Jayadeva (early 1200 A.D.) was one
of the greatest poet, composer and musician of
early mediaeval India. Shree Jayadeva not only
contributed to the development of art, classical
raga music, music literature and sangita within the
fold of rich ancient Indian cultural heritage, but
also left behind a strong and rich tradition of
ancient Indian classical music including all the three
performing musical arts viz. vocal, instrumental
and dancing for the posterity.
The afflorcence of the Bhakti movement of
Indian socio-cultural life inspired a large number
of saints and sages to work for the revival of the
glory of ancient Indian cultural heritage. Kavi
Shree Jayadeva was a devout follower of
Vaishnava religion, who adhered to the Radha -
Krsna cult
2
and visualizing the divine love sports
of Radha and Sri Krsna.
In such cultural background he composed
and sang his Gita Govinda, as a series of religio-
mystical songs in ancient Indian classical music
based on raga sangit.
3
The lyrical verses of the kavya as known to
have been composed in astapadi as such, also
include a number of songs, for singing of which
names of raga and tala of Indian classical music
have been referred to in each of them.
4
To-day,
Gita Govinda of Kavi Shree Jayadeva could be
GitaGovinda of Shree Jayadeva in
Art and Cultural Life of Assam
Dr. H.N. Dutta
regarded as the richest and finest srngara-rasa-
kavya found with the highest aestheticism of
Indian sentiments, that are extant in the socio-
cultural life in India. The sensitiveness of Indian
aestheticism as expressed in the lyrical literature
of Gita Govinda by Jayadeva pervades the
emotion, mood, sentiment and feeling of many
poets and artists of India. Many poets translated
this original Sanskrit kavya into regional languages;
many scholars wrote commentaries
5
on this work
while many artists resort to paint and illustrate the
moods, mores and sentiments of life as narrated
in the kavya. Beyond the impact of Gita Govinda
in socio-cultural life in India, the aesthetic beauty
of Gita Govinda is known now across the world.
6
Gita Govinda of Shree Jayadeva has been
playing a significant role in socio-cultural life of
Assam. This musical kavya is virtually playing a
role of a grantha sangit, an adhuna prasiddha
sangit and bhabi sangit. Significantly, this aspect
of Gita Govinda is reflected not only in sangit
but also in painting as well in Assam.
In this paper, an attempt is taken up to
analyse the influence of Gita Govinda in the art
and cultural life of Assam.
The region of Assam has a long and strong
tradition of music and dance. Assamese traditional
music both classical (margiya) and folk (desiya)
131
is replete with nuances preserved in the region
since remote past. Assam has been described as
a paradise for anthropologist,
7
a land of music
and dances. This region in India preservas diverse
elements and forms of ancient Indian classical
music and dance. Very lately, however, the
sastriya dance of Assam has been recognized as
a classical dance form of India. Thus, sastriya
sangit has a long legacy in the cultural history of
the people of Assam.
Natya Sastra of Bharatmuni refers to
fourfold classification of prakritties viz.
deshinatya, avanti, Odramagadhi and
pahchalamadhyama. Among these four,
odramagadhi is the local usages of the eastern
countries including Anga, Vanga , Kalinga, Odra,
Magadha, Nepala, Pragjyotisa, Videha and
Tamralipta. The region Pragjyotisa referred to
here is not any other than Kamarupa or modern
Assam.
8
This indicates remote prevalence of
ancient Indian forms of classical music and dance
in ancient Assam. Today, in Assam among others,
manifestations of ancient Indian forms of sastriya
sangit including vocal, instrumental and dance are
found expressed in tantric Buddhist musical
Charyapadas and in the three distinct classical
dance forms viz. the Ozapali a musical dance
drama with its two varieties viz. the Vyah goa
and the Suknanni, the Devadasi and the
Sattriya.
9
Among the Ozapalis, the Vyah goa is
traced back to 13th - 14th century AD with the
influence of the Charyapadas, while the
Suknanni performs with songs in praise of the
serpent Goddess Manasa, which is traceable in
Padma Purana. The institution of devadasi nrtya
was attached to the Saivite temple of Assam
including those at Biswanath ghat in Sonitpur,
Dergaon in Golaghat district, Dubi and Hajo in
Kamrup district. Prevelance of devadasi
institution in Hayagriva Madhava temple in Hajo
recalls similar custom of Jagannath temple at
Puri.
10
The sattriya dance could be traced back
to Neo-Vaishnava movement in Assam led by
Srimanta Sankaradeva (AD 1449-1568), the
saint and preacher, poet and playwright,
philosopher and reformer, artist and composer
as the fountainhead of the Bhakti movement in
Assam. Assisted by his principal disciple
Madhavadeva (AD1489-1596) brought about a
cultural resurgence through this movement
manifested in many other art forms both performing
and plastic.
11
Sattra institutions have developed
as cultural centres of this movement and various
art forms like music, dance, drama, painting,
literature, art, sculpture and other minor arts
flourished in the sattras. The Vaishnava saints
evolved a highly stylized theatrical performance
called ahkiyd or bhdwand, combining nrtya,
badyaand sangita enriched with dances both pure
and illustrative and graceful in form. These dramas
are staged in the kirttan ghar of a sattra or in a
namghar in a village for propagation of
Vaishnavism. This promoted art, literature,
painting, wood carving, metallic work, manuscript
compilation and many other crafts such as making
of musk and other objects both for spiritual and
other utilitarian purposes both within the sattra
and outside.
Besides, Sankardeva (AD 1449-1568) and
Madhavadeva (AD 1489-1596) composed
devotional musical verses called Bargit or celestial
songs or noble numbers, which are set to classical
ragas for singing. Sanka radeva and
Madhavadeva employed the following ragas in
their bargits and ankiyagit : Ahir, Asowari,
Kalyana, Kanad, Kamoda, Kedara, Kau,
Gauri, Tud, Tud-vasanta, Tud-bhathiyali,
Dhanasri, Nata, Nat - mallara, Purvi, Varadi,
Vasanta, Belovdr, Bhathiyalli Bhupali, Matiara,
Mahar, Ramagiri, Lalit, Syam, Syamagada, Sri,
132
Srigandhara, Srigauri, Sareng, Sihahurd and
Suhdi. Madhavadeva composed a number of
songs of various orders e.g. baigits (devotional
lyrics, noble songs) ahkiyd git (songs of the
dramas) Kirttan- Ghosa (Narrative songs)
namghosa (devotional couplets) Bhatimd
(prasastis of God Visnu or Krsna, Guru or King)
paydra (recitational verses) Sanskrit odes etc.
13
Sri Sri Aniruddhadeva (AD 1553-1626)
was another Vaishnava guru who was master in
Indian classical music. The devotional verses of
Aniruddhadeva are divided structurally into two
e.g. Dhrung and pada and these are generally in
paydr and tripadi metres. Most of his songs have
four to six verses. There are seven songs of two
verses. Besides the classical ragas which are
found in the compositions of Sankaradeva and
Madhavadeva, he uses certain other ragas like
Pascima Dhanasri, Chalengi and Rang bhatiyali.
He uses total 36 aand in each of the gits, he sets
his ragas. The talas used are Yoti, Varital,
Rupganjan, Rupak, Athtal, Carimani,
Barbisam and Sarubisam. At the time of
presenting the gifts, in harmony of ragas and
talas, a kind of dance, music is performed
following certain musical codes called fats. Noted
among the fats are Dhora-jat, Gajat ,
Athuvanidiya - jat, Thelamara - jat and so
on.
14
The sattra institutions of Assam are like the
Buddhist monasteries. Structurally a sattra has
an entr ance (korapat), a prayer hall
(kirttanghar), a manikut (sanctum), a gosain
chord (dwelling cottage for sattradhikar),
bhakat hati (lines of residential cottages for
disciples). The Kirttanghar of a sattra is almost
similar with a Buddhist Chaitya and brahmanical
temple in its ground plan. Sattras are made of
perishable materials, available locally by village
craftsman and artisans. This factor generated a
people oriented cultural genesis which brought
about a revolutionary change in the cultural life of
Assam. Innumerable vaishnava poets composed
lyrical verses sung in ragas, wrote dramas on
themes from Bhagavata Purana and Ramayana,
Mahabharata, staged through musical drama and
dance, which brought about a renaissance in
efflorence of Vaishnavism in Assam. Srimanta
Sankaradeva transformed Bhakti movement into
a micro level mass movement in society by
establishing sattra institutions as centres for
socio-cultural resurgence and as well as for
propagation of his monotheistic doctrine eka
sarana bhagavati nama dharma, based on the
essence of Bhagavata Puran. Later, these sattra
institutions received royal patronages of the Ahom
and Koch kings.
This aspect of the cultural history of Assam
during mediaeval period has to be discussed at
length for the reason that we have to view the
influence of Gita Govinda in Assam on this
background. We know that, Gita Govinda of
Jayadeva glorifies the divine sportive play (lila)
of Radha - Krsna as a means of worship and
devotional exercise (sadhana) in two fold ways
known as aisvarya (richness) and madhurya
(beauty), the form of realization of different
aesthetic sentiments (rasavadana) and thus
considered as a great religious work in terms of
bhaktirasa sastra.
18
But the monotheistic doctrine of Srimanta
Sankaradeva of Assam is silent
19
about the Radha
- Krsna cult or the divine love sport of Radha
and Krsna. In Assam, Rasalila of Lord Sri Krsna
is performed in the way as has been narrated in
Bhagavata Purana. The character of Radha as
divine consort of Sri Krsna is not represented.
Neither any iconical form of Radha-Krsna is
worshipped in socio-cultural life of the Assamese.
Popularity of the Neo-Vaishnavite religious
133
movement in Assam seems to have considerably
restrained the popularity of Gita Govinda in its
original form and content in Assam.
There exist three Assamese versions of Gita
Govinda, composed by three different Vaishnava
poets, as follows: Gita Govinda of court poet of
the Koch king Maharaja Naranarayan (A.D.I540-
85) Kavi Ram Swaraswatti
21
Gita Govinda of the
court poet of the Ahom king Rudra Simgha (AD
1696-1714) Kaviraja Chakravart y
22
Gita
Govinda of Dharmadeva Bhatta, who rendered
it in 1718. Besides, at least three Assamese
commentaries were written on Gita Govinda by
three different commentators. These are
(i) Saravatti Tika on Gita Govinda by Maharaja
Sukladhvaja (AD 1540-1563) (ii) Sandarva
Dwipika by Dhriti Das and (iii) Sar Dwipika by
Ratnakar Kondoli. Of these, Sar Dwipika of
Ratnakar Kondoli is based on the commentary
of Jagandhar, the renown commentator on Gita
Govinda. There exist ten copies of Gita Govinda
in Sanskrit now preserved in the Department of
Historical and Antiquarian Studies, Guwahati,
Assam.
24
This makes it clear that there was a
definite impact of the srngara rasa kavya Gita
Govinda in Assam, but owing to the strong impact
of Vaishnava monotheistic doctrine eka sarana
bhagawata riama dharma of Sankaradeva, the
Vaishnava poets found to have attempted a careful
departure from the original text of the kavya in
order to match their versions with the progressive
Neo-Vaishnavite religious movement in Assam.
Rama Saraswati, the court poet of the Koch
king Naranarayana (AD 1540-85), was born at
Pacariya village in Kamrup.
25
He composed the
Assamese version of Gita Govinda providing a
shadow of the original Gita Govinda of Jayadeva,
combining into it the idealism of Bhagavata Purana,
discarding a direct translation of the original
Jayadeva Kavya. Rama Saraswati introduces his
Gita Govinda as follows :
Jayadeva name kavi acila purbat
Giagovindara vir-acila nana mat
Govindara rash krida gopika sahit
Ekatra kariya Bhagavat samannvit
Duyukatha nibandha karibo ekethai
Jahaka smarane loka vaikunthakajai:
He also writes :
Jayadeva name kavya biracilo sar
Sukladhavj Raja tika Karilanta jar
Naranarayan nrpatir prana bhai
Maharaja Sukladhavj jar sama nai
Our first attention is drawn to the attempt
by the Assamese poet Rama Saraswati in
changing the impact of season from spring of the
original work into autumn in his version. This was
done in order to restore purity of mind as naturally
gleanced in autumn, and that too without
dishonouring Jayadeva when he writes that, Sri
Krsna with his supernatural power transformed
the spring season into autumn for his Rasalila.
The twelve sarga or chapters of the original
Jayadeva kavya have not been shown separately
in the Assamese version of Gita Govinda, but
narrated continuously in padavali or tripadi.
27
The Gita Govinda of Jayadeva is a descriptive
work of the love-sport of Radha and Krsna,
where the gopis have no significant place. But in
the beginning as well as in the appendix of the
Assamese version of Gita Govinda of Rama
Saraswati attentions have been drawn to the role
of the gopis which provide a secondary position
to nayaka (Krsna) and nayika (Radha). Rama
Saraswati has blended in his Gita Govinda the
essence of Rasalila of Sri Krsna as found in the X
chapter of Bhagabata.
In order to draw the large scale attention of
the Vaishnavite sentiments attempts for glorification
134
of Sri Krsna have been taken up also in other
literary aspects of the version. The chapters of
the Assamese version of Gita Govinda have been
organised according to mood and mindset of Sri
Krsna e.g. Samad, Damodar and so on.
29
In place
of the devotional exercises (dhyana) and classical
ragas of Gita Govinda of Jayadeva, drawn from
ancient Indian classical musical treatise Ragamala,
and many variety of moods and sentiments from
the srngara rasa sastra for Krsna and Radha;
Rama Saraswati has rather drawn these elements
from the Saravati Tika on Gita Govinda, written
by Maharaja Sukladhvaja.
30
Not only that, attempts have been taken up
by Rama Saraswati to sideline and eliminate the
erotic elements of Jayadeva from his version of
Gita Govinda. Rama Saraswati characterized two
gopis Ratnavalli and Sukanti, as messengers for
carrying the message of priyatama (Radha) to
Sri Krsna as follows:
Sukanti bolanta suria Ratnavalli sakhi
Hasi uthe tomar enuwa karma dekhi.
But neither these two names of gopis, nor
narratives of the responsibility for carrying the
message are to be found in the Gita Govinda of
Jayadeva. By this means, Rama Sarswati has
pushed back the role of Radha into a secondary
status in his work
31
In Bhagavata, the name of the
gopi who rode on the shoulder of Krsna is not
mentioned, Rama Saraswati describes her as
Radha in his version of Gita Govinda. This may be
recalled that Srimanta Sankaradeva describes the
same character as Radha in his drama Keli Gopal.
The elements of srngara rasa, which
Jayadeva represented could be traced back in
the Kamasastra of Vatsyayan.
34
By averting these
elements and for providing secondary
consideration on this issue in the Assamese version
of Gita Govinda, Rama Saraswati describes only
the places which may be considered suitable for
love-play in his work and narrates how young
lady resort to painting work in separation.
35
However, he has retained the essence of the
Bhagavata, referring Krsna and Radha as Purusa
and Prakrti, when he writes -
Prakrti purush duyare nahi vinnapar
Karyya karanat matra bhinna kalevar.
Thus Rama Saraswati has att ained
considerable success in transforming the srngara
rasa kavya Gita Govinda of Jayadeva into a
bhaktirasa sastra, by evoking in greater way the
glory of Sri Krsna through his spiritual literature.
This work added a great support in the progress
of Neo-Vaishnavite movement of Sankaradeva
in Assam. He spread the Glory of Sri Krsna,
through his spiritual lyrical literature.
An illustrated Assamese metrical version of
the Gita Govinda by Ramanarayana Kaviraja
Chakravarty is found preserved in Kamarupa
Anusandhan Samiti at Guwahati.
37
Ahom king
Rudra Singha directed Kaviraja Chakravarty to
render Jayadeva's lyrical kavya into Assamese.
This copy is almost a literary translation of the
original kavya, but incorporated with Assamese
terms and terminology at places. As for example,
the names of classical ragas of the original kavya
have been changed into vernicular forms - Gunjari
for Gurjari, Gondagiri for Gondakri, Ramagiri
for Ramakri. Kaviraja Chakravarty is found to
be respectable to the original Gita Govinda of
Jayadeva, with minor departure here and there.
His version is free from the Saravati tika of
Sukladhvaja of Kochbihar and brings out much
of the sense and aesthetic beauty as has been
accomplished in the Gita Govinda by Jayadeva.
Kaviraja Chakravarty has firmly reestablished the
mystico-religious character of the original work.
Kaviraj Chakravarty translates in Assamese verse
that "Hari knows the essence of all the
135
Kamasastra, or the works on the art of erotics
written by sages.
39
reference of a large number
of lyric sung as song in classical ragas have been
rendered int o Assamese by Kaviraja
Chakravarty.
40
Dharma Bhatta rendered the third version
of the Gita Govinda into Assamese in AD 1718.
Dharma Bhatta was a Vaishnavite poet. Following
the trails of Rama Saraswati, Rasalila as found in
the Xth chapter of Bhagavata of Srimanta
Sankaradeva and original Gita Govinda of
Jayadeva, Dharma Bhatta composed his version
of Gita Govinda. In his version Dharma Bhatta
retained many of the original Sanskrit verses of
Gita Govinda in Assamese.
Remarkably, singing of the songs of Gita
Govinda and the Dasavatara dance of Visnu to
the tune and rhythm of Gita Govinda is practiced
even today in Sri Sri Auniatiya Sattra, Majuli. Sri
Krishna Kanta Goswami of Sri Sri Natun
Kamalabari Sat t ra, Majuli composed
Dasavatara stotra in Sanskrit following Gita
Govinda of Jayadeva.
Thus, the eloquent literary and musical
tradition of Gita Govinda has been continuing to
influence the life and culture of the people of
Assam. As it appears, the work has received a
mixed response in Assam although the impact of
the kavya in Assamese society is undeniably great.
The Gita Govinda tradition of painting in Assam
ranks with the established Indian schools of
paintings. The only difference is that the Assamese
school of painting is lesser known in Pan-Indian
contexts in certain respects.
For communication of aesthetic ideas and
pleasure in the field of creation of art, literature,
music and dance, artists, poets and writers are
solely responsible. The Gita Govinda of Jayadeva,
which has been recognized by and large as the
richest and finest srngara rasa kavya,
represents the highest primal aesthetic quality of
Indian sentiments
42
It exerted the greatest influence
in the development of Vaishnava poetry in Mithila,
Orissa, Bengal and Assam. The region of Assam,
since early historical period came under the
development of ancient Indian classical music as
referred to in the Natyasastra of Bharatmuni
which later manifested in art and sangit of this
region. A rich classical musical tradition was
prevailing in Assam, when the Gita Govinda was
composed and thus the attention of the poets and
musicians of mediaeval Assam was drawn to the
kavya.
The Mahakavya of Jayadeva took up
different moods and mores in the hands of
Assamese poets owing to the prevalence of
different socio-cultural situation during different
periods in Assam.
References :
1 B.N. Luniya ; Evoluation of Indian Culture, 1990.
pp 230-219.
2. Swami Prajnananda ; Historical Development of
Indian Music, 1973, p 318.
3. S. Bandyopadhyay ; Indian Music Through the
Ages, 1985, p 31.
4. Ibid.
5. Swami Prajnananda. op.cit. p 316.
6. A few folios of manuscript painings of Pahari
School on Gita Govinda tradition have been found
displayed in Rietberg Museum, Zurich,
Switzerland.
7. Geographi cal ly, historically, culturally,
linguistically, religiously the region of Assam is
more close to South-east Asia and China, South
east Asiatic influence in art and culture of Assam
is noticeable. For this ethnological aspect, we may
see H.D. Sankalia, The Prehistory of India, pp.161-
62.
136
8. Natyasastra, XIV, 43-46 Dr. Maheswar Neog :
Sattriya Dances of Assam, 1973, P.3.
9. Ibid, pp 1-37, Sattriya Dance, 2000, published by
Directorate of Cultural Affairs, Assam, pp. 1-40.
10. Dr. Moheswar Neog, op. cit. pp. 6-9.
11. Sattriya Dance, 2000, published by Directorate
of Cultural Affairs, Assam, p.1
12. Moheswar Neog; Tradition and Style, 1981, p-60
13. Ibid, pp. 60-61.
14. Dr. Swarna Lata Baruah; Life and Teachings of Sri
Sri Aniruddhadeva, pp. 54-55.
15. Ibid, p.56.
16. J.M. Sanyal, Srimad Bhagavatam of Krishna
Daipayana Vyasa, Vol-I.
17. Acharya Jagadish Lal Shastri, Bhagavat Purana,
1988, p.14.
18. Moheswar Neog, Pabitra Asom, p.4.
19. Swami Prajnanananda : op.cit., pp. 319-20.
20. Srimanta Sankaradeva propagated Vaishnavism
for a casteless or classless society of pure moral,
ethical and cultural upliftment with ideology of
universal love of humanity.
21. In other parts of India, Krsna and Radha merge
into one another in an ironical form as depicted in
Bundi, Pahari, Mewari and Kangra schools of
painting as preserved in Bharat Kala Bhawan,
Benaras Hindu University and at National
Museum, New Delhi.
22. Biswanarayan Shastri, Rama Saraswati, Sahitya
Akademi, 1985, P.70.
23. Kapila Vatsyayan Moheswar Neog : Gita Govinda
in Assamese School of Painting. 1986, P.1.
24. A copy of Gita Govinda by Dharma Bhatta is to be
found with Sri Mohan Chandra Mahanta at Jorhat,
vide S.N. Sharma, Gita Govinda, 1955, p.5.
25. S.N. Sharma, Gita Govinda, 1955, p8
26. Ibid, p.6.
27. Biswanarayan Shastri, op. cit., p.71.
28. The twelve sarga or chapters of Gita Govinda of
Jayadeva are Samad, Damodar , Akles-keshava,
Mugdha Madhusudan, Snigdha Madhusudan,
Sakangksa Pundarikaksya, Dhrista-Vaikuntha,
Nagar Narayan, Vilakshya Laksmipati, Mugdha
Mukunda, Mugdha Madhava, Sananda-Govinda,
Suprita Pitambar. S.N. Sharma, op. cit. p.9.
29. Ibid, p.9.
30. Biswanarayan Shastri, op. cit p.71.
31. S.N. Sarma, op. cit. p.8.
32. Ibid, p.92; Biswanarayan Shastri, op. cit, p.71.
33. S.N. Sharma, op. cit. p.97.
34. Ibid, p.8.
35. S.N. Sharma, Gita Govinda, Appendix, p.3;
Umendra Verma; Kama Sutra of Vatsyayana, 1974.
36. Biswanarayan Shashtri, op. cit. p.72.
37. S.N. Sharma, op.cit. p.8; Srngara rasa has been
described as adirasa, which causes the origin of
the universe with its animate and inanimate
objects and it brings nirveda or renunciation,
Swami Prajnananda, op. cit. p.319.
38. This version of Gita Govinda has been edited by
Kapila Vatsyayan and Maheswar Neog, and
published by Publication Board, Assam, 1986.
This author has fully used the description of the
paintings on the basis of this publication and
acknowledges the kind permission of the
Secretary, Kamarupa Anusanddhan Samiti for the
photography of the paintings used in this paper.
39. Kapila Vatsyayan, Maheswar Neog; op.cit.,1986,
p.i.
40. Ibid, p.75.
41. The songs found in the Gita Govinda are nivrta
nikunja, sansara adhara, lalita lavanga,
candana carita, srita kamala mam iyam, nindati
candana, stana vincita, anila tarala, vahati
Malaya, smara samara, samudita madana rajani-
janita, harir abhisarati, mahjutdra-nikunja,
viracita catu kisalaya, kurujadu nandana, radha
vandana vadasi yadi, rati sukha sare tana
vininita, kathita samaya and so on. Refence of
raga ragini and pancanga are found in the work.
For reference : Kapila Vatsyayan, Maheswar Neog,
op.cit.
42. S.N. Sharma, op.cit. p.5.
43. Swami Prajnanananda, op.cit. p.319.
137
ABBREVIATION
desiya Regional or local folk music
margiya Classical music
provritties Local forms of musical and dramatic representations as
referred to in Natyasastra of Bharatmuni.
sattriya nivrta Classical dance prevailing in Vaishnava sattras in Assam.
sastriya sangit Classical music
ozapali A form of traditional dance drama of Assam.
vyahgoa A form of traditional dance drama of Assam.
suknanni A form of traditional dance drama of Assam.
charyyapadas Tantric Buddhist songs of Assam.
Devadasi nritya Dance of temple girl
Ankiya nat drama
Bhawana Natya Vaisnava theatrical performance
Barg it drama
Ankiya git devotional classical songs
Namghosa Vaisnava classical songs of drama
Kirttan ghosa a devotional music literature composed by Madhavadeva
Namghosa Narrative devotional songs
Bhatima devotional couplets
Payara glorification in lyric
Dhrung recitational verses
Pada devotional verses
Yati devotional verses
Jats a metre
Korapat musical codes
Manikut entrance gate of a sattra
Gosain choni sanctum of a prayer hall
Bhakat hati cottage for priest in a sattra
Riga lines of cottages for devotees
eka sarana bhagawata classical melody of music
nama dharma Religious doctrine propogated by Srimanta Sankardeva in Assam,
Padavalli verse
Tripadi canda verses written on three
dhyaha exercises
srngara rasa sastra erotic scripture
purus prkrti philosophy of dualism
Director,
Directorate of Archaeology, Assam
Ambari, Guwahati-1
138
A master piece of literary creation, Gita
Govinda Kavyam was composed by celebrated
poet Jayadeva of Orissa, in the twelfth century
A.D. It is a lyrical dance drama with exquisite
expression of the poet`s innermost feelings issuing
in rhythmic language. It presents a consecrated
account of divine love play in terms of human
passion. Outwardly, it describes, the love,
separation, longing and union of Radha and
Krishna, the cosmic duo, in the mystical forest:
Vrindavan. along the bank of river Yamuna. But
metaphysically it connotes the yearning of the
individual soul (Jivatma) for the mystique union
with the divine soul (paramatma).
The spiritual essence, mystical imports,
sensual overtones, aesthetic depictions and lyrical
fluidity of Gita Govinda have baffled critics,
bewildered scholars, mystified saints, charmed
lovers, enlightened devotees and have involved
people at large emotionally arid sentimentally
It has, over centuries, influenced religious
faith and beliefs, culture and traditions, literature
and poetics, music and dance forms and has
inspired creativity in the form or art, architecture,
painting and sculpture.
Singing of Gita Govinda as a devotional song,
before deities in temples and religious shrines has
been traditionalized since centuries. It used to be
the main topic for sinking and dancing by
Depictions of Nature
in Gita Govinda Kavyam
Gadadhar Mahapatra
Devadasis in the Jagannath temple at Puri, All
classical dance forms in India include some
Astapadis of Gita Govinda in their repertoire for
enactment and expression of sentiments (Bhava).
The dramaturgy and poetics in Gita Govinda
have been skillfully crafted to touch the inner most
core of human heart and inspire noblest emotions.
[Nanda tells Oh Radha ! the sky is covered
with smooth black clouds, the forest Tamala trees
presents a blue hue, it is dark, to which my
cowardice son is afraid of. Please guide him to
reach home. With this direction from Nanda,
Radha guided Madhava end emoute proceded
to quite bowers, amidst dense trees, at the bank
of river Yamuna and in the loneliness, they sported
in mystically ecstatic dalliance. Let their mystic
dalliance be victorious.]
Depictions of elements influencing emotions
In developing the theme, Jayadev has
selected spring season as the time for enactment
of the drama, when nature becomes vibrant with
a fresh countenance, bedecked with blossoms of
colours and gets loaded with nectarous essence,
that emit a variety of fragrance, scent, perfume
and aroma. Soothing wild sounds and pleasant
movements pervade the air. These elements
influences human emotions and trigger desire for
enjoyment The following verses of Gita Govinda
are a few examples,
139
Lalita labanga lata parisilana komala Malaya samire
Madhukara nikara karambila kokila kujita kunja kutire
Biharati Hah riha sarasa basante
Nrutyatiyubatijanena samam sakhi birahijanasya durante
[The cool southerly mountain breeze softly
embraces the pleasant vines of Labanga lata
(Quamoclit spp.) and carries its aroma to all
beings. In the creeper huts, hum the honeybees
and cry the cuckoos, filling the forest with
melodious sound In this spring season, when the
blooms and fragrance of flowers arouse the senses
in all beings, Hah dances with the young women
and sports with them. It is a cruel time for those
staying away from the loved ones.]
The description of cool breeze embracing
vines, symbolically depict, embrace of Nayaka
and Nayika and the melodious wild sounds and
aroma as stimulants, which arouse erotic mood.
Mrugamada sourabha rabhasa basambada naba
data mala tamale
yubajana hrudaya bidarana manasija nakharuchi
kinsukajale
[The fresh leaves of Tamala (Garcenea spp)
emit aroma, that fills the air, like the scent of deer
musk The red Kinsuk (Flame of the forest) with
it spiked blossoms, tear at the young hearts, like
the nails of Manasija (God of love).]
Red colour symbolically denotes the heat of
mind (kama) and the aroma triggers the heat.
Madan Mahipati kanaka danda ruchi keshar
kusuma bikase
Milita siliniukha patalipatala kruta smara truna
vilashe.
[Madana (The god of love), rules this earth
in spring season and like the golden rod of the
decorative umbrella over his head, blooms
Keshara kusuma (Mesua ferrea) with its saffron
flower pistils.The Silimukha (Black beetles) sit on
the yellow Pat ali (Trumpet flowers -
Sterospermum suaveolense) to suck honey which
appear like the arrow heads In the quiver of
Smara (God of love)]
The flowers of kesarkusuma (Nagakeshar)
emit a pleasant perfume that stimulates the mind
and triggers sensational feelings.
Bigalita lazzita jagadabalokana taruna karuna kruta hase
Birahi nikuntana kunta mukhakruti ketaki danturitashe
[Intense erotic mood has caused all beings
to abandon shvness Looking at their plight, the
tender buds of trees bloom into laughter. Ketaki
(Pandanous spp.) has spiked its blossom like
spears, to wound the deserted lovers.]
Emotions like Lazza (Shyness), Hasya
(Laughter), Karuna (Sadness), Viraha
(Separation), Kastam (Pain through Nikuntan) has
been hinted here through buds of trees and
blossoms of Ketaki, indicating the harmonious
unison of man with nature.
Madhavika parimala Lalite naba malatijati sugandhau
Munimanasamapi mohanakarini taruna karana bandhau
[The strong scent of the flowers Madhavi,
Malati Jati (Hiptage spp. and Jasmine spp.) etc.
pervade the air, enchanting, even the meditating
hermits (Munis), who feel again the passion of
intimate bonds of youth, which they had
abandoned.]
Jayadeva has gradually effected the change
of colour and smell through the verses cited above.
The red of Kinsuka (Flame of forest) has been
replaced by the saffron of Nagakeshar (Mesua
ferrea), dull yellow of Patali (Sterospermum
suaveolense), bright yellow of Ketaki (Pandanous
spp.) and finally by the white of Madhavi, Malati,
Jati (Hiptage and Jasmine spp.). The aroma has
been changed to perfume to fragrance to strong
scent. Simultaneously he has indicated gradual
transition of emotion from the red heat of Kama
to brightness and peace of mind through pink,
yellow and white.
140
Spuradati mukta lata pari rambhana mukulita pulakita chute
Vridavana bipine parisara parigata Yamuna Jala pute
[The mango tree has bloomed with pleasure,
due to the firm embrace and entwining of the freely
swinging and trembling vines of Madhavi lata. The
forest areas of Vhndavan has been consecrated
with the holy waters of Yamuna, where dances
Hah.}
Both sensuous and sacred aspects have
been hinted here, which have significant impact
on human emotions and psyche. The embrace
(Parirambhana) of creeper and tree symbolizes
the unrestraint (Mukta) embrace of lovers (Nayak
and Nayika), which result in blooming of pleasure
(Mukulita and pulakita), a step in the path of
achieving supreme bliss (Paramananda). The
tremble or horripilation (romancha) depicts the
'Sattvik BhavaThis could be attained at a sacred
(Puta) place like Vrindavana, where meanders
river Yamuna, with holy waters, which are means
for salvation.
Depiction of elements inciting sensuality and
mysticism
Dura vidalita malli balli chanchat paraga
Prakatati pala baseir basayan kananani
lha hi dahati chetah ketaki gandha bandhuh
Prasara dasama bana prana bad gandha baha
[The strongly scented pollen dust, emanating
from the partly bloomed Malli balli (Jasmine spp),
permeate the air, filling the forest with fragrance.
The cool mountain breeze (gandha baha), a friend
of Ketaki scent and the soul of the arrow of
Kamadeva (God of love), blows here and burns
the minds of deserted lovers]
After highlighting the stimulant effects of
colour and fragrance, in the verses cited above,
Jayadeva touches upon the delicate pollen dust
(Paraga), a stronger stimulant, which evokes
sensuality and triggers desire for union.
Unmilana madhu gandha lubdha madhupa byadhuta
chutankura
Kridata kokila kakali kalakalei rudgirna karnajwara
niyante pathikei katham kathamapi dhyana badhana khyana
prapta prana sama samagama rasoullashei rami basara
[In spring time, with numerous plants in
bloom, the smell of honey permeate the air, which
attract wanton bees. With their frisky touch, in
sucking honey, quiver and sway the mango
inflorescences. The cuckoos crowd the trees,
feast upon the tender buds and sing with joy in
the melodious fifth note. The revelry of cuckoos,
cause a fevered state, in the ears of the lonely
travelers and arouse the sweet memory of their
beloved ones. They spend the days, meditating
upon the pleasure of intimate moments, they had
enjoyed back home with their sweet hearts.]
This verse is highly loaded with sensuality
and mysticism. When the springtime re-emerges
after a long gap of one year, the lowly creatures,
bees and cuckoos, get the chance of union with
their cherished subjects, the blossoms and buds,
for whom they had awaited eagerly. They express
the pleasure of union with hums and cries.
The lonely travelers represent the human
souls, who long for union with the divinity Their
recollection of the memories of pleasure at the
intimate moments of union with their beloved ones,
represent, mystically, the divine bliss, the soul
experiences, at the climaxing moments of
meditation.
Depictions of aesthetic panorama sensitizing
feelings
Adyotsanga basat bhujanga kabala kleshadi besa chalam
Praleya plabane chhayanusarati shrikhanda sailanilah
kin cha snigdha rasala mauli mukula nyalokya harsodaya
dunmilanti kuhuh kuhuriti kalottalaha pikanam girah
[The southerly breeze, blowing from the
sandal wood mountains, proceeds to Himalayas
with the desire to bathe in the snow caps, to get
rid of the pains of poison, emitted continuously to
141
it, by the serpents, residing in the hollows of large
sandal wood trees. The cuckoos revel joyously
at the appearance of delicate buds and blooms
of inflorescence over the head of mango trees.]
In this verse, Jayadeva presents a picture of
the geographical landscape of India, from the
mountainous peninsular region, rich in sandal
wood forest, the Gangetic plains, rich in mango
groves, to the snow capped Himalayan peaks in
the north By referring to elements of nature like
sandal wood mountains (cool scented breeze),
snakes and suffering of pain (due to poison), snow
(coolant), delicate buds of mango and reveling of
cuckoos (onset of spring), Jayadev symbolically
hints at the state of mind of separated souls in the
mode of Bipralambha sringar.
Duralokah soka stoka stabaka naba kashoka kalika
bikashah
kasaropabana pabanopi byathayati
Api bhramyad bhrungi ranita ramaniya
na mukula prasuti schutanam sakhi sikharaniyam sukhayati.
[With intense agony due to separation from
Krishna. Radha tells Sakhi, that a simple glance
at the Ashoka (Saraca indica) tree, takes away
the pains of separation (Virahajwala). But now
looking at its freshly bloomed flower bunches,
only intensifies my pain, as does the cool breeze,
blowing form the forests surrounding the lake.
The soothing hum of wanton bees, sucking
honey from the blooms at the top of mango trees,
gives me pleasure neither,]
It is Jayadev`s unique way of expressing the
state of mind of separated lovers referring to the
elements of nature.
Depiction of agony of separation
Abaso bipinayate priyasakhi malapi jalayate
tapopi swasitena daba dahanjwala kalapayate
sapi twad birahena hanta harini rupayate ha katham
Kandarpopi yamayate bira chayancha sardula bikriditam
[Due to separation from Krishna, Radha
being emancipated and colourless, behaves like
a doe and considers her house as the jungle. The
group of companions (sakhis) as trap nets (snare)
preventing her from moving out. The burning pain
in her body exhaled as sighs appear like the rage
of forest fire. Her state of mind is like that of a
timid and frightened doe, about to be killed. She
considers Kandarpa (God of love) as Yama
(Messenger of death), because, like a tiger
attacking a helpless doe, cut off from all sides by
trapnet and fire, Kandarpa sports with her mind
and inflicts pain]
Jayadeva, in this verse, through elements of
nature, describes the outer and inner state of
Radha suffering from the agony of separation.
Nindati chandana mindu kirana manu bindati kheda
madhiram
byala nilaya milanena garala miba kalayati malaya
samiram sa birahe taba dina
Madhava I manasija bisikha bhayadiba bhabanaya twayi
lina
[The soft sandal paste and the moonbeams
burn and scorch her. The touch of^soft mountain
breeze (Malaya Samira) blowing from the sandal
wood forest, gives the feel of venom of poisonous
serpents. Pining in desolation and being afraid of
the arrows of Manasija (God of love), Radha
meditates and clings to Madhava]
In poetic imagery, elements like sandal paste,
moonbeam, cool mountain breeze etc. acts as
stimulants evoking passion. But Radha expresses
her repugnance at these stimulants, being
emotionally hurt at the desertation of Madhava.
Depiction of appreciation of beauty through
natural colours as simile
Bandhuka dyuti bandhabo ayam adharh snigdho
madhuka chhabir
Gande schandi! chakasti nila nandana shri mochanam
lochanam
Nasavyeti tila prasuna padabi kundavadanti! priye !
Pray a stwan mukha sebaya vijay ate bis warn sa
puspayudhah
142
[Her moist lips resemble the dazzling red of
Vandhuka (autumn flower), her delicate cheeks
has the lusture of soft flowers of Madhuka
(Madhuca latifolia). The glow of her eyes belittle
the blue lotus (Nila nandana - Nelumbo spp), her
nose is chiseled like sesame flower (Tila prasuna),
her teeth gleam like the white jasmine (Kunda),
Adorning her face with these flowers and
worshipping her, God of love (Puspayudha), has
conquered this world.
The stimulating effects of colours, shape and
fragrance of flowers which get absorbed in the
core of the heart, is reflected back in describing
beauty as an aspect of nature.
Jayadev presents here another word picture
of colours. Every limb of Radha is an aspect of
nature aglow, visions of coloured flowers and
perfume of many hues.
Jayadev in several other verses of Gita
Govinda has used simile of natural elements in
describing the beauty and state of Radha. A few
examples are cited below:
Nilanalinava mapi tanwi! taba lochanam
dharayati kokanada rupam.
[The blue lily -eyed beauty, who has turned
her eyes with anger like scarlet lotus]
Sthala kamala ganjanam mama hrudaya ranjanam
[The blossom of Sthala kamala (Earth lotus)
is be-littled by the colour of the foot of Radha,
which colours my heart.]
Vilasha kusuma sukumardehe
[Revel oh Radha ! with your flower soft
tender body ]
Vasante vasanti kusuma sukumarei abayabei
Bhramanti kantare bahubihita krushnanu saranei
[Radha with her delicate limbs, like the soft
and fragrant Madhavi blossoms, wanders alone
in the forest wilderness in search of Krishna]
Jayadeva has profusely used various aspects
of nature as stimulants (Uddipana bibhava) in
effecting emotions of Radha and Krishna
symbolically representing emotions of human
souls.
The ultimate aim of every soul is enjoyment
of Sukh (Pleasure) and attainment of ananda
(Bliss). As per Upanisadic philosophy ananda is
Brahma (divinity), which is attainable through
meditation, intense devotion, unrestraint love and
self-surrender.
It is a psychic state of mind, which is
influenced by emotions or feelings. The emotions
are stimulated by elements of nature, which
Jayadev has highlighted in Gita Govinda Kavyam.
References :
1. Kapila Vatsayan - Jaur Gita Govinda and The
Udayapur Gita Govinda - published by National
museum, New Delhi
2. Sri Gita Govinda Mahakavyam with 'Sarvanga
sundari and 'Sruti ranjani, Ed. by B. Panda,
Dept. of culture, Govt, of Orissa.
3. Gita Govinda kavyam - with 'Rasika priya by
Kumbha and 'Rasamanjari by Sankar Mishra -
published by Meherchand Lachhman Das
publication, New Delhi.
4. Jayadeva and Gita Govinda - Ed. Trilochana
Mishra and Bimalendu Mohanty published by
Utkal University of culture, Bhubaneswar.
5. Gita Govinda - by Jagannath Mishra - Ed. Pramila
Mishra. Directorate of Tourism, Sports & culture,
Orissa, Bhubaneswar - 1983.
99, Surya Nagar
Bhubaneswar-751003
143
The present paper gives a succinct account of
the archaeological remains in and around
Kenduvilwa and its importance in terms of the
religious history of Orissa. An attempt is made
here to discuss various sculptural specimen found
at the site from the surface as also from the
excavation. Instances from the great work Gita
Govinda have been drawn to interpret certain
deities and their customs.
Kenduvilva is a small village under the
Jayadev Panchayat of Balianta Police Station
Limits in the erstwhile district of Puri (now in
Khurdha district). River Prachi, known as 'Ganga
of Orissa' in the Puranas flows to the north of the
village and the sacred Kushabhadra of
mythological fame drains the northern part of the
village and hence provides a holy landscape. The
vast and extensive shady groves of Kendu
(Diospyros melanoxylon) and Bel (Aegle
marmelos), once stretching along the village
justifies the name Kenduvilwa. The present day
village is divided into four parts, namely, Kenduli,
Deuli, Kenduli Patna (Upara Sahi) and Kenduli
Sasana.
On entering the village from the western
direction, the temple of Sri Narasimhanatha first
appears to sight. This temple built out of
sandstone is approximately 40 ft. in height, having
a Jagamohana. The architectural features carved
Archaeological Remains In and
Around Kenduvilwa
Prafulla Chandra Tripathy
on the outer body of the temple lies concealed
under a thick lime plaster. Inside the temple, there
are two images of Sri Narasimha, made up of
fine-grained granite and are represented in
different postures. One image is portrayed as
Laxmi seating on the lap of Sri Narasimha and
the other depicts the horrific Ugra Narasimha or
the incarnation of Lord Narasimha tearing the belly
of the demon king Hiranya Kasipu. In the
sanctum, an image of Madhava (2511 x 1311)
with usual ayudhas such as conch, wheel, club
and lotus in four hands is being worshipped by
the devotees.
Close to the temple, a branch of Trimali or
Tiruamalla Monastery of Puri is located. Laksmana
Suri, a courtier in the Court of Tirumalla Raya,
the king of Vijayanagara had earned widespread
reputation and recognition all over India because
of his Commentary, Srutiranjana, based on the
Gita Govinda of poet Jayadeva. Most probably
Tirumalla Raya (1565-1580 A.D.) in companion
with his illustrious courtier, Laksmana Suri paid a
visit to Srikshetra (Puri) and established Tirumalla
or Trimali Monastery. Legends delineate that
Tirumalla Raya had visited Kenduvilwa, the
birthplace of the great saint poet Jayadeva and
established a branch of the Monastery there.
Pilgrims and learned Pundits from the South visiting
this holy place used to stay in this Monastery.
144
Many important facts and facets regarding this
branch of the Monastery are available at the Trimali
Math (Monastery) of Puri. Even now there are large
landed properties in the village which belongs to
the Monastery but are badly managed. Even the
houses/chambers of the ancient Monastery have
been collapsed barring one. All these evidences
suggest that Kenduvilwa was once upon a time a
great place of pilgrimage which is again
corroborated by the statements of the elderly
people of the village that the pilgrims approaching
from the South used to stay in the Monastery. A
Copper Plate inscription was discovered from a
nearby tank in a stone container which records that
in the 8th regnal year, Narasimha Deva - IV of the
Imperial Ganga lineage bestowed a village, Kiniri
Sasana situated between Varanasi Kataka and
Kalmora Uttarakhanda to Mahapatra Narahari
Das Praharaja after renaming the village as Vijaya
Narasimhapur. The Copper Plate Charter also
demarcates the boundary of the village as also the
glory of the Ganga dynasty. Some of the villages
referred to in the Charter still exist by the same
names. This Charter is the biggest among all the
Copper Plate inscriptions found so far in Orissa.
There are several living legends pertaining to the
house, tank/pond and land of Mahapatra Narahari
Das Praharaj who was a Minister in the Royal
Court of the Ganga king.
Popular legends of the region also delineate
that poet Jayadeva was performing yajnas in a
sacrificial altar under a neem(Azadirchta indica)
tree with granite pillars on all sides and the site of
this activity is not far away from the Monastery.
To commemorate the holy activity of the great
poet, villagers still perform yajnas on the
auspicious day of Aksaya Trutiya which has been
continuing since time immemorial. The
archaeological ruins and habitational debris to the
south of the sacrificial altar seems to be the
ancestral home of Jayadeva.
An identical image is also found in the
temple. Her crown, necklace, ear ornaments and
the waist-belt are different from the former.
Scholars are of the opinion that both the images
were made around 7th -8th centuries A.D. Such
images are rare in Orissan context due to their
peculiar sculptural presentation. Local people refer
the images as Jagesvari and Padmavati. Padmavati
is identified with Laxmi and this type of image is
not found in any archaeological and sculptural
records of Orissa.
Both the images are two-armed seating on
full-blown lotus in Padmasana posture holding full-
blossomed lotus with stem in left hand but the
right hand of both the sculptures differ to each
other. One of them is holding fruit possibly
pineapple with a stem 'whereas the other holds
fruits like mangoes or oranges in a bunch. Both
the palms of the deity in the sanctum have been
broken whereas the left palm of the deity installed
in the Mukhasala is also broken.
The ancient brick temple which is dilapidated
in due course of time preserves an inscription
reading Jaya Jaya Devahare (1102) in
Devanagari script which is engraved below the
Navagraha panel of the temple. The brick temple
was brought to limelight from the dense bushes
located at the outskirt of the village in the year
1964. The deities were worshipped under a
Kendu (Diospyros melanoxylon) tree. It is to be
mentioned here that the entire village was full of
Kendu {Diospyros melanoxylon) and Bilwa
(Aegle marmelos) trees with dense foliage during
the period under study. Inside the temple there
installed the image of a two-armed goddess made
of polished fine-grained granite in Padmasana
posture with the seven-hooded naga (cobra)
over her head. Exquisite carvings of flowers and
creepers adorn both sides of the deity. To the left
of the deity a pouncing lion is seen whereas to the
right are seen a male and a female devotee
145
engrossed in deep meditation in kneeling posture.
The lower portion of the pedestal represents
twelve dancing girl sculptures. An eternal heavenly
bliss emanates from the face of the goddess. She
has wore a crown on her head and bedecked
with beautiful ornaments like necklace, bracelet
and anklets etc. along with a sacred thread passing
between the breasts. Her feet and waist are
adorned with ornaments. She holds a full-blown
lotus, carved delicately and accurately. The stem
portion of the lotus is broken. On her right shoulder
hangs a bunch of five mango fruits which attracts
the attention of the observers and researchers.
The archaeological excavation conducted at
the site yielded several important remnants like
two-armed Durga, Narasimha made of fine-
grained granite, pottery types with various shapes
like dishes, bowls, basins, pots, lamps,
hopscotches etc., iron equipments of war and
peace, including agricultural implements and
household objects which clearly suggest constant
human occupation at the site at least from the pre-
Christian period. Also, the finding of two-armed
Durga images are rare and the evidence comes
only from two places i.e., Viraja (Jajpur in same
district) and Berboi near Delang (Puri District)
which dates back to the 2nd-4th centuries A.D.
The task of conservation of the dilapidated
brick temple located to the north of the village has
been undertaken by the State Archaeology
Department, Government of Orissa and a new
temple has been constructed using the old bricks
and stones. Near the temple, a Jain Tirthankara
image by the name of Varunei Vasudeva is
worshipped under a mango tree. In recent years a
concrete platform has been constructed by the
Block Development Officer, Balianta under
Khurdha district. It may be presumed that the
village was previously influenced by Jainism and
as a result of which the Tirthankara image as also
Padmavati as 'Sasana Devi or Tutelary deity were
being installed and worshipped. The images of
Parsvanatha are also worshipped at other villages
like Baghalpur near Kenduvilwa in the opposite
bank of the river Kushabhadra. The monument and
the Jain sculptures are now protected by the State
Archaeology Department. Similarly, the images of
the 1st Tirthankar, Risabhanatha as also the 23rd
Tirthankar Parsvanath are also seen at Adaspur,
located towards the north of Kenduvilwa. Further,
Jainavad, a place named after the settlement of the
Jains is also located about 2 km to the southeast
on the banks of the river.
Kushabhadra. From these evidences it is
quite clear that Kenduvilwa as a village and
Padmavati as the 'Sasana Devi were flourishing
contemporaneously with the development of
Jainism and subsequent shift to Vaisnavism in
Orissa.
Several broken images belonging to
Buddhist and Saivite pantheons found in a row
along with the idols of Manjuvara (?) are
worshipped on the same pendal which is locally
known as Barunei Basudeva. The image of Naga
called 'Astikajaratkaru', 'Bhairava', two-armed
Durga and Mahisamardini Durga were retrieved
after excavation at the site and are now preserved
in the Jayadeva Museum. Besides, the image of
Syama Tara or Mahasarasvati of Buddhist
pantheon is found to be worshipped under a
banyan tree.
Padmavati
In the 1st canto, 1st composition and 2nd
stanza of the Gita Govinda it has been mentioned:
"vakdevatacaritacitritacittasadma,
Padmavatiscaranacarana cakravarti sri vasudeva
ratikelikatha sametam"
This means Vagdevata (Goddess of Learning)
whose picturesque view has always been
146
imprinted the inner part of her heart is the supreme
motive force for movement of the pairs of dancing
feet of Padmavati. Jayadeva has elaborately
discussed the love episode of Sri Vasudeva. But
the meaning of the word 'Charand has been
described in the Patalakhanda of the Padma
Purana dating back to 8th century A.D. as one
who prays or offers his prayer or submits himself/
herself before the god or goddess. The meaning
of 'Charoand' is described as Gandharva,
Vidyadhara and Deva community in
Sabdakalpadruma (P. 888) and Srimad
Bhagavata (4/16/12):
"antarvahiscah bhutanam pasyan karmani caranaih,
udasinaivadhyaksy vayur- atmaiva dehinan
That means all the works of the living beings
are watched by the 'caranas' indifferently as 'Atma
and Vayu' (air and soul). If we accept 'carana'
as worshipper then the meaning would be that
Jayadeva was the supreme worshipper (carana
chakravarti) at the feet of goddess Padmavati
or 'Goddess of Wealth', the tutelary deity of that
Sasana according to Jain and Hindu scriptures,
respectively.
In the 10th canto, 19th composition, stanza
8 of the Gita Govinda it is mentioned:
"Jayatu Padmavati ramana Jayadeva kavi Bharati
vanitamiti gitam"
Because of the use of the word 'ramana',
Padmavati is now considered as the wife of Sri
Jayadeva as the meaning is derived from the
Sanskrit word 'ramukridayam'. But on the other
hand it is claimed that he (Jayadeva) being the
supreme worshipper always thinks about goddess
Padmavati and entertains her through his poetry
for worldly and heavenly pleasure, respectively.
This interpretation suits well to the Indian
tradition of poets writing 'Kavyas' to please gods
and goddesses rather than interpreting them as
beloved and wives.
In the canto 11th, 21st composition and
stanza 8, it has been mentioned: "vihita
Padmavatisukhasamaje kurumurare-
mangalasatani bhanatijaya-devakavira
jaraje" The commentator Rana Kumbha of the
16th century A.D. has described in his
commentary Rasikapriya:
"Padmavatya laksmyah sakhirupasamajastanam
prasada yen Kenduvilve Jayadeva karita
mahalaksmyah prasada astiti prasiddhah laksmi
bhaktya hari stuvati iti"
Here Rana Kumbha has taken Padmavati
as Laksmi, the Goddess of wealth. A temple for
her worship was built by Jayadeva himself at
Kenduvilwa which was very famous during his
time. It was generally accepted that people who
are living happily with wealth and prosperity by
the grace of Padmavati or Laksmi may be blessed
by Murari (Krsna) for their welfare. The details
of the image of Padmavati have already been
discussed earlier in this paper.
Ten Sasanas (Brahmin settlements)
established during the regime of the Imperial
Gangas bearing the names of the 'Avataras'
(incarnations) of Lord Keshab in Gita Govinda
are seen around Kenduvilwa. The image of each
incarnation is considered as the presiding deity of
each Sasana. On the other hand, if the village is
not represented by an incarnation image, the stone
or wooden image of Lord Jagannath is placed.
An image of four-armed goddess, Vakesvari
(Vakdevi of Gita Govinda) made of fine-grained
granite (Tara variety) is being worshipped in a
shrine at Vakra Sahi, adjacent to Kenduvilwa.
The four-armed Vishnu with 'ayudhas' like
conch, lotus, club and wheel made of fine-grained
granite are enshrined at 12 places in the Prachi
river valley and is popularly known as 'Dwadasha
Madhava Pitha. The size and measurement of
each image differs from each other. Among all
147
these Pithas, the Madhava temple at Madhava
village under Madhava Panchayat is very famous
and significant in the locality. A number of devotees
from all over the State usually come to this place
for worshipping the Lord. The height of this temple
is 80 feet with a 'Mukhasala' which was
constructed during the Ganga period i.e., 12th
century A.D. The ten 'Avataras' of Lord Vishnu
are found in the outer niches of the walls of the
temple. Sri Gita Govinda is recited in daily rituals
of the deity at night by the 'Sevakas'' and being
attended by the local devotees. The road
connecting to Madhava with National Highway
No.5 at Phulnakhara (about 30 km stretch) is
named as Madhava Road. The temple is
protected by the State Archaeology Department,
Government of Orissa.
The temple of Laksminarayana is located at
Chaurashi village within a distance of 8-9 km
which has also been protected by the State
Archaeology Department, Government of Orissa.
This is one of the masterpieces of Orissan
sculptural art tradition and hardly there is any
parallel to this. The image has embodied the
artistic glamour as depicted in Gita Govinda
"Smitakamala Kuchamandala-Dhrutakundala
Kalitalalitabanamala.
From the archaeological and sculptural
records it is clear that the site of Kenduvilwa was
flourishing with Jain, Buddhist, Sakta, Naga and
Vaisnavite cults in different periods of history. The
site of Kenduvilwa and its surrounding preserves
a wide array of archaeological, architectural and
sculptural evidences and as such it is imperative
to take up further research in this connection to
unravel the hidden facets of cultural aspects of
the region.
1181, Devraj Vidyapeeth Road,
Govind Prasad, (Bomikhal),
Rasulgarh, Bhubaneswar-751 010.
The Gitagovinda of Jayadeva
The Gitagovinda of Jayadeva (11
th
-12
th
C) consists of 386 verses scattered
throughout the 12 sargas or cantos and 24 songs. Each title consists of a descriptive
epithet of Krsna, the protagonist. The twelve cantos are:
1. Samoda Damodarah: (Damodara or Krsna who is full of delight)
2. Aklesakesavah : (Krsna without any sorrow)
3. Mugdha Madhusudanah : (the enamoured Krsna)
4. Snigdha Madhusudanah: (Krsna who was feeling happy and at peace)
5. Sakanksapundarikaksah (Lotus-eyed Krsna who was full of desire)
6. Dhrsta-Vaikuntha (Krsna who is both aggressive or unrepentant as well as
shameless)
7. Nagara Narayanah: (Krsna as the lover of Radha)
8. Vilaksa Laxsmipati: (as the Lord of Laksmi who is surprised or bewildered)
9. Mugdha-Mukunda : (Krsna who was enchanted)
10. Mugdha-Madhava: (Krsna who was enchanted)
11. Sananda-Govinda: (Krsna who is full of joy)
12. Suprita-Pitambara: (Krsna in his yellow garments who is wholly pleased)
148
Much has been said and written on Sri
Gitagovinda of Sri Jayadeva. The depiction of love
of Radha and Krishna has found finest expression
in this immortal work of love. Along with the
elegant representation of the theme its richness
lies in its rhythmical composition of words.
The magic power of the words creates
vibration. To quote one verse fromDasabatara
stuti would not be out of place-
Amala kamala dala lochana he
Bhaba mochana he
Tribhubana bhabana nidhana
Jaya jaya deva hare
Hare hare
Jaya jaya deva hare
The names of the twelve chandas of the Sri
Gitagovinda eloquently testify the poet`s
command over words the twelve chandas are-
1. Samoda Damodara (Damodara or Krsna
who is full with delight)
2. Aklesa Kesava (Krsna without any sorrow)
3. Mugdha Madhusudana (The enamoured
Krsna)
4. Snigdha Madhusudana (Krsna who is
tender and pleasant)
5. Sakanksa Pundarikasah (Lotus-eyed
Krsna who is full of desire)
Sri Jayadeva : The King of Poets
Jayanti Ratha
6. Dhrsta Vaikuntha (Krsna who is both
unrepentant as well as shameless)
7. Nagara Narayana (Krsna as the lover of
Radha)
8. Vilaksa Laksmipati (Krsna as the Lord of
Lakshmi who is surprised and bewildered)
9. Mugdha Mukunda (Krsna who is
enchanted)
10. Mugdha Madhaba or chatura chaturbhuja
(Krsna who is enchanted)
11. Sananda Govinda (Krsna who is full of joy)
12. Suprita Pitambara (Krsna is his yellow
garments who is totally pleased)
Krsna`s identification with yellow colour is
a widely accepted phenomena in Vaishnava faith.
He has been very often described as Pitabasana
Vanamali.
I would like do median an interesting
experience regarding this. Recently while I was
at Kenduli on excavation work I found a
wonderful plant having flowers simultaneously of
three colours i.e. yellow, green and white.
Charmed by the sweet fragrance and the colour
combination of the flowers I asked the name of it
to some local people. They said - "It is Varuna
plant. Here the Daughter, Father and father-in-
149
law reside together. It is very sacred and is
generally used in sacrificial rites (Yajnya). To make
their version more clear they said- "the yellow
colour stands for Lord Vishnu, the white for
goddess Mahalakshmi and the green for Varuna."
I was orverwhelmed with joy to listen the story
of that beautiful flower which bloomed in Kenduli-
the birth place of the poet.
It Prachi Mahatmya mention has been
made of twelve Madhavas popularly known as
Dvadasa Madhavas i.e. Prasanna Madhava,
Lalita Madhava, Nila Madhava, Kanta
Madhava, Madhu Madhava, Nila Madhava,
Bidagdha Madhava, Mudgala Madhava,
Nivarana Madhava, Natabu Madhava,
Vasudev Madhava.
Sri Jayadeva has very often visualized Hari,
the Supreme Lord, in Mugdha Madhava form.
No doubt, it was his great passion that made his
words so powerful, so magical. The simple
recitation of any of its verses makes the listener
spell-bound. Here both bhava and sabda reign.
The bhava is solid and the sabda is lucid and
transparent, and out of that emerge the
Rasaghana Narayana, Madhu Madhava. He
has been duly called Kaviraja - the king of poets
and if would not be exaggeration to say him
Sabdaraja - the king of words.
Curator, Numismatics,
Bhubaneswar
A Few Other Important Translations and Commentaries of Gita Govinda
(1) Oriya Translations
(i) Gitagovinda by Dharanidhara Dasa (Mid-16
th
Century), (ii) Rasavaridhi (with some variations)
by Brundavan Dasa (First Decade of the 17
th
Century), (iii) Amruta Sagara (13
th
to 32
nd
chapters)
by Dinakrushna Dasa (1640-1690 AD), (iv) Artha Govinda by Bajari Dasa (composed in 1674
AD), (v) Gitagovinda by Uddhava Dasa (Early 18
th
Century)
(2) Bengali Translation by Oriya Poets
(i) Basanta Rasa by Pindika Shrichandan (later 17
th
and early 18
th
Century)
(ii) Basanta Krida Sammujvala Rasavali by Shyamasundar Bhanj (Early 19
th
Century)
Commentaries
There are more than 100 commentaries on Gitagovinda and more than 50 adaptations
1. Bhavavibhavini Udaynacarya (12
th
C), 2. Sara Dipika Jagaddhara (14
th
C), 3. Sarvangasundari
by Narayana Dasa of Orissa (14
th
C), 4. Tippanika by Mananka (15
th
C), 5. Rasikapriya by Kumbhakarna
or Rana Kumbha (15
th
C), 6. Srutiranjani Vyakhya by Lakshmidhar a (16
th
C),
7. Rasamanjari by Shankar Mishra (16
th
C), 8. Sarvangasundari by Dhananjaya of Orissa (17
th
C),
9. Rasakadamba Kallolini by Bhagavad dasa Narayan Pandit (17
th
C), 10. Balabodhini by Chaitanya
Das or Pujari Goswami (16
th
17
th
C), 11. Rasika Rangada by Lakshmana Bhatta (18
th
C), 12. Sarvanga
Sundari by Krushna Das Kaviraj of Orissa (18
th
C), 13. Sacred and Profane Dimensions of Love in
Indian Traditions as Exemplified In The Gitagovinda of Jayadeva by Lee Siegel (Oxford 1975),
14. Text with Musical Notation by S.R.Sreenivas lyer (1963), 15. Kavi Jayadeva O Sri Gitagovinda by
Pandit Harekrushna Mukhopadhyaya (4
th
Edn.Calcutta, 1965)
.
150
Nothing remarkable, whether in the field of
politics, religion, literature or culture, has occurred
in Orissa, without a direct or indirect reference to
the multidimensional culture and overpowering
influence of Lord Jagannath and His monumental
shrine located at Puri, one of the four sacred
Dhamas of the country. The poets, philosophers,
politicians and philanthrophists have been greatly
influenced by the Jagannath cult and have made
outstanding contributions to their respective fields
of knowledge centering round the hydraheaded
mysterious aspects of Jagannath Cult. The shrine
of Lord Jagannath was visited by the great saints
and savants of this country like Sankara,
Ramananda, Ramanunja, Madhavacharya,
Narahari Tirtha, Kavira, Nanaka and Chaitanya;
each of whom contributed to the development of
its catholicity and almost all of them have not only
left some institutions at Puri which are still named
after them but also shaped and promoted their
philosophical doctrines after being influenced by
the salient features of Jagannath Cult.
The origin of Jagannath shrine and His
Cult are shrouded in mystery. Although the
historians established the fact that the present
temple of Lord Jagannath was built by Ananta
Varman Chodaganga Deva of Ganga dynasty
during 12
th
century A.D, still a lot of theories have
been propounded as to the existence of Jagannath
shrine and cult from time immemorial on the basis
Jayadeva, Jagannath and
Bhakti Movement in Orissa
Prof. Harekrushna Satpathy
of the evidence found in some epigraphic records,
archaeological remains and Puranic Literature.
Any way, Jayadeva, the celebrated poet of
Sanskrit, remembered for his devout devotion for
Lord Jagannath, was born in the 12
th
century A.D,
the period when the present monumental shrine
of Lord Jagannath was constructed in Orissa. The
main objective of the composit ion of
Gitagovindam by Sri Jayadeva was to offer his
humble prayer, dedicated devotion, uncommon
respect and extraordinary feelings of love for
Lord Jagannath, who has been regarded as the
focal point for the socio-political and socio-
religious movements in Orissa through the
immortal songs of his lyrical poetry. It is told in
Bhaktamala by Chandradutta.
Jayadeva, the nobel minded poet got
privilege after composing the Kavya
151
'Gitagovindam and dedicating the same to
Purushottam (Lord Jagannath) at the sacred place
of Purushottama i.e Puri.
As per the historical and legendary
records. Lord Jagannath was worshipped as
Purushottama or Nilamadhava or Madhava in
ancient time even during the period of
Panchasakhas or five saintly friends of Orissa. The
name Jagannath came to be known widely
probably at a period when the socio-religious
movement got momentum in Orissa with the
advent of Shri Chaitanya who spend about 18
years at Puri, Shri Jayadeva has mainly used the
words 'Madhava, 'Jagadisha, 'Hari,
'Krishna, and 'Keshav etc. for Lord Jagannath
and this unique literary contribution is intended to
propitiate the poet`s cherished Lord. It is not out
of place to mention that recital of Gitagovinda in
front of Lord Jagannath was made compulsory
by Gajapati King, Prataprudra Deva who ruled
Orissa from 1497 to 1540 A.D.
Jayadeva, the celebrated poet of Sanskrit
literature of the 12
th
century A.D has been
immortalized for his only work 'Gitagovinda, a
unique lyrical poetry, charged with deep
devotional intensity and extraordinary musical
composition. The melodious songs and erotic
appeal of the story as delineated in Gitagovinda
have a captivating effect on the readers. The poem
describes the amorous dalliances of Radha and
Krishna in such a methodical, elegant and stylistic
manner, one can find himself completely
submerged in the ocean of devotion having a deep
current of Vaishnavite mysticism which started in
Orissa from twelfth century A.D., virtually with
the construction of the great monumental shrine
of Lord Jagannath that attracted a number of
saints and savants belonging to various religious
and philosophical sects to be dissolved with the
mysterious stream of Jagannath cult, Jayadeva`s
Gita Govinda, as is alleged, is not an episode that
illustrates the form of Sahajiya love wherein
Krishna has been represented as a freelance and
has been further described as freely mixing and
dancing with the cowherd women, embracing and
kissing them. The further allegation that the form
of love described by Jayadeva in his love lyric
has transgressed all human laws and ethics made
to control sexual relation between men and
women is far from truth. The free mixing of Krishna
with the cowherd women has been annoted by
Sridharswami the most authentic commentator on
Shrimad Bhagavat as the union of Almighty with
the sparks of His own prowess. As a child enjoys
by mixing himself with his own subshadows
reflected through a mirror or any transparent
object of the worlds, Lord Krishna, in the same
was mixing with the cowherd women, who
actually symbolize the sparks of Krishna`s own
reflection.
Radha can also be a symbol of serpent
power, which is existent being coiled up in the
root recept acle of human body
Muladharachakra and Krishna symbolizes the
Sumam bonum of thousand petalled lotus
receptacle or pineal gland or Shasrara Chakra
and it is intended that the serpent power like Radha
should travel through all the four receptacles i.e
Savadhisthana chakrs or superior Hypogastric
Plexus, Manipura Chakra or Solar Plexus,
Anahata Chakra or Cardiac Plexus, Anahata
Chakra or Cardiac Plexus and Visudha Chakra
or plexuses connecting superior, middle and
inferior cervical ganglia and mix with Krishna like
summum bonum of pineal gland as the yogis par
excellence try to unite these two for their all-round
perfection and attainmenent of eternal peace and
bliss.
The lyrical poetry of Bhakta Kavi
Jayadeva opens with a benedictory verse that
152
highlights the guiding capacity of a women, Radha
stands for Sakti or power, the indeterminable
Mahamaya who revolves the wheel of this world
and without whom the Purusa, the primordial
being or Krishna as described by Jayadeva, is
completely incapable even of movement, what to
speak of creation. The poet feels that in a world,
covered with darkness by the clouds a man
cannot reach his destination without the help of a
women, who represents all that is required for
dispelling the darkness. Here the destination
means the ultimate point of perfection, converted
by one and all interested in obtaining the 'Sumum
bonum or eternal bliss and peace of life. Hence,
a true devotee finds the entire episode to be
symbolic while a sensualist can only relish the
passion in its nude display. The purpose of Gita
Govinda is to instill a deep sense of devotion
towards a devine power and that is the reason
why the recital of this lyrical poetry has been made
compulsory in the temple of Lord Jagannath.
Jagannat h, Jayadeva and Bhakt i
movement in Orissa, these three are inseparable.
It is to be mentioned that this devotional poetry
was written to offer as a prayer to Lord Jagannath
most probably on the occasion of conseration
ceremony of the newly constructed present
monumental shrine of the Lord during the period
of Chodaganga Deva. Deep association of
Jaydeva with Lord Jagannath and the introduction
of 'Gita Govinda as one of the daily rituals of
Lord in the tradition of Jagannath cult equip one
with the series of arguments to come to a finding
that the homeland of Jayadeva was Orissa. Of
course there is no bar if a saint poet comes to
Puri from other state and composes his devotional
poetry in the praise of Lord Jagannath, the
perennial source of inspiration and attraction of
several poets, philosophers and religious leaders
of the country. In fact Srichaitanya, who was born
in Nadia Nabadweep of Banga, came to Puri in
the year 1510 A.D at the behest of his mother
'Sachi and spent about eighteen years in the holy
land of Lord Jagannath. It will not be out of place
to mention that the fore-fathers of Srichaitanya
were the inhabitants of Jajpur in Orissa as evident
from Jayananda`s Chitanyamangala. Anyway
the case of Jayadeva is completely different and
it has been proved that Jayadeva was an inhabitant
of Kenduvilva or Kenduli Sasana, a village in
Balipatna P.S of the Puri district situated in
between the rivers Prachi and Kusabhadra. It is
not intended to enter into the homeland
controversy of the poet Jayadev, who has been
claimed by the Orissa, the Bengalis and the
Maithilis. But the authentic documents and literary
contributions of ancient time, which have been
brought to the limelight in recent years by the
scholars of eminence in support of determining
the birth place of Jayadeva to be Orissa, which
deserve special mention. These records are
(i) Sarvanga Sundari Comment ary on
Gitagovinda by Narayana Das of 1350 A.D
(ii) Vaisnavalilamrita by Madhab Pattnaik of
1535 A.D (Published by Sambalpur University,
Sambalpur) (iii) Bhaktimala of Navadas of 1885
A.D (iv) Madala Panji of 17
th
Century
(v) Commentary on Bhaktimala by Priya Das of
1712 A.D (vi) Bhakta Vijaya by Mahipati of 1792
A.D (vii) Dardhyata Bhakti by Rama Dasa of
1797/8 A.D and (viii) Gita Govinda, Marathi
Edition of 1865 A.D. These literary traditions have
persistently described Utkal as the homeland of
Jayadev. In this connection a portion of the article
entitled 'Jayadeva of the Gita Govinda-His Date
and Place by Prof. N.K Sahu as quoted below
may be referred to :
'A number of writers during the late
medieval period declared Utkal to be the home
land of Jayadeva. Gada Dwivedi in his work
Sampradya Pradeep dated 1553 A.D states that
Jayadev belongs to Utkala Navaji the well known
153
poet of Gwalior in his Bhaktamal written in Hindi
also states that Jayadeva was a poet of Utkala.
Jayadev himself 'in his Gita Govinda states that
he was born like a moon from the sea of
Kenduvilva.
The Maharastrian poet Mahipati in his
popular work Bhakta Vijaya declares Jayadeva
as an incarnation of Vyasa and identifies
Kenduvilva with a village called Tinduvilva near
the sacred city of Purusottama Puri. According
to Mahipati, Jayadeva wrote Gita Govinda at
Purusottama and married Padmavati, the daughter
of a Brahmin of that place. Krishna Dasa Babaji
in his Bhakti Mala also testified to the fact that
Jayadeva lived in Purusottama. Chandra Dutta, a
poet of Mithila in his Bhaktamala corroborated
the evidence given by poet Mahipati and present
the same type of identification of Kenduvilva. He
states that Jayadeva the Brahmin village named
Binduvilva near Jagannath Puri. These literary
evidences can not however, be dismissed, unless
other such evidences be produced to contradict
the above.
However, it is not intended here to put
so much emphasis on the land or the origin of the
poet. Our ancient celebrated Sanskrit poets and
authors wrote their works for the whole of India
and even for the world. They have not confided
themselves to the geographical boundaries of
certain regions and that is the reason why many
of them like Kalidasa, Jayadeva etc. have not
mentioned any thing regarding their birth place or
geneaological identities. Jayadeva has crossed all
the geographical limitations and has emerged as
an outstanding literary luminary who could be able
to give an unflinching fillip to the Bhakti movement
in Orissa. It is the unparalleled popularity of the
poet Jayadeva, which prompted some readers
to plunge into a controversy with an intention to
claim him to be an inhabitant of their own
respective regions.
The socio-religious condition of Orissa,
that led to the composition of this devotional
poetry in twelfth century by the poet Jayadeva,
was marked by four important cultural events.
These are (i) The tradition of Madhava worship
particularly in the Prachi valley, where the poet
was born (ii) Carving of the incarnations of Lord
Krishna in various Vaishnava temples of Orissa
in general and on the lintel over the lion`s gate of
Jagannath temple of Puri or the Dasavatara theory
(iii) Influence of Lord Jagannath and the
significance of Purusottama Dham and (iv) Visits
of great Vaishnava saints from south like
Madhavacharya,Vishnuswamy, Nimbarkacharya,
Ramanujacharya and the theory of 'Radha
propounded by Sri Nimbarkacharya. Needless
to mention that all these four factors along with
the resultant factor of composition of Gita Govinda
in the twelfth century contributed substantially for
generating an environment of deep devotion in
the minds of the people of Orissa towards Vishnu
or Lord Jagannath or Purusottama paving an
avenue for Vaishnavism to gain momentum in the
sacred land of Lord Jagannath. Of course, the
patronage of the kings of Ganga dynasty, which
ruled Orissa for nearly 325 years, was remarkable
in promoting this Bhakti movement in Orissa.
Anantavarman Chodaganga Deva the founder of
Ganga dynasty, who ruled Orissa for 72 years
from 1078 to 1150 A.D built the present temple
of Lord Jagannath at Puri and from that time this
famous monument gained its importance and
attracted national as well as international attention,
which it never lost afterwards. His eldest son
Kamarnava Deva, who ruled for a short period
of 6 years, was also a devotee of Lord Jagannath
and did a lot to spread the Vaishnava Bhakti
movement in Orissa. His respect for the Brahmins
and the devotees was evident from the fact that
he performed Tulabharamceremony by which
he weighed himself against gold and distributed
all these gold coins among the Brahmins, scholars
154
and devotees of his court. Bhakta Kavi
Jayadeva, who flourished in the twelfth century
A.D was fortunate to have the patronage of these
two great Vaishnavite kings of Ganga dynasty of
Orissa and authored his devotional lyric,
Gitagovinda, in propitiation of Lord Jagannath.
One of the socio-religious factors that led
Jayadeva to write his monumental work was a
formidable tradition of Madhava worship. This
tradition of worship of Madhava, a form of
Vishnu, was vibrant even before Jayadeva, whose
forefathers were also worshippers of Madhava,
Jayadeva, being initiated with the tradition of
Madhava Puja, authored Gita Govinda wherein
the poet frequently described Govinda as
Madhava. It is worth mentioning that Lord
Jagannath in whose propitiation, the Gita Govinda
has been written, was adored as Purushottama
or Nilamadhava in Niladri or blue-mountain by
the devotees before Jayadeva. The following verse
fromNiladri Mahodayacorroborate the fact that
Jagannath was being worshipped as Nilamadhava
or Madhava at Puri from the very inception of
Jagannath tradition.
Moreover, the worship of twelve forms
of Madhava in Orissa was so vibrant that the
tradition must have influenced 'Jayadeva to sing
his lyrics in honour of Madhava-turned-Jagannath.
This tradition of 'Dvadasa Madhava Worship
was nowhere prevalent in the country before
twelfth century except in Orissa. These twelve
Madhava, are Adi Madhava, Ananta Madhava
Bhoga Madhava Champaka Madhava, Prasanna
Madhava, Purushottama Madhava, Sudarshana
Madhava, Janardana Madhava, Narakantaka
Madhava, Vasudeva Madhava and Govinda
Madhava.
The concept of 'Dasavatara Theory
which was in vogue in Orissa prior to Jayadeva
was also another factor responsible for the creation
of this devotional masterpiece in the history of
Sanskrit literature for which the poet has invoked
all the ten incarnations of Lord Krishna in the first
canto of the 'Gita Govinda. The ten incarnations
as depicted by Shri Jayadeva are found carved
in two Vishnu images worshipped in the village
Saintala of Bolangir District and these images are
of eighth century A.D observed by Late P.C Rath.
Subsequently, all these ten incarnations were
gradually found carved in various temples of
Orissa and particularly on the lintel over the Lion`s
gate of the present Jagannath temple at Puri. The
presence of an old matha called 'Dasavatara
Matha near the Gundicha temple of Puri, where
the ten incarnations are worshipped, also
substantiates the fact that this Dasavatara theory
not only originated in Orissa but also became
popular among the devotees, as a result of which
the songs of Dasavatara composed by Sri
Jayadev are still sung in the Jagannath temple
every morning duringMangala Arati. Moreover,
the nation-wide importance of Jagannath cult and
temple, which, assumed significance for the first
time in the twelfth century during the reign of
Chodaganga Deva and Kamarnava Deva,
prompted the poet Jayadeva to author his most
enchanting devotional song in Sanskrit. It is to be
mentioned that Jayadeva has not exclusively paid
his reverence to Madhava, but the theory of
Radha, which was never existent in Sanskrit prior
to Jayadeva in Orissa, also finds place in Gita
Govinda. The assumption of learned historian,
Dr.P.C Bagchi, that 'Radha was probably a
Bengali innovation made shortly before the time
of Jayadeva and represented only a Vaishnavite
phase of growing Saktism," has been given a
good-bye by Late Kedar Nath Mohapatra by
proving Bengali origin of Radha to be untenable.
The observation of late Mohapatra are as follows-
'There was vigorous revival of
Vaishnavism in South India in the twelfth century
155
due to the preachings of Sri Ramanuja, Sri
Vishnuswami, Sri Nimbarka who proclaimed
Radha as the Sakti (female energy) of Sri Krishna,
his spouse in divine sport. The Schools of
Nimbarka gave great prominence to the worship
of Radha along with Sri Krishna. Sri Jayadeva a
devout Vaishnava from his youth who remained
at Puri, was greatly influenced by the Nimbark
School either by coming in personal contact with
its founder or by intimate association with his
disciples. Exaltation of Radha which was a distinct
feature of the Nimbark Schools, inspired
Jayadeva to develop his erotic mysticism. It is a
fact that the erotic mysticism depicted by
Jayadeva in his Gita Govinda has swayed away a
number of devotees to express their deep sense
of devotion to Lord Krishna in the form of
Jagannath as a result the Bhakti movement gained
its momentum in Orissa during the twelfth century.
Some legends as found in the literary
traditions, also substantiate the fact that Gita
Govinda of Jayadev was extremely favourite to
Lord Jagannath and it is told that Lord himself
had appeared at the residential place of Sri
Jayadeva, while Jayadeva had gone outside for
taking a bath and wrote emotionally surcharged
devotional line i.e which cannotes the concept of
complete surrender before the indeterminable
power. There is a legend as to the marriage of
Bhaktakavi Jayadeva which shows that Lord
Jagannath liked his devotee Jayadeva. When
Devasharma to keep his previous promise wanted
to dedicate his daughter Padmavati to the services
of the Lord, the Lord himself directed him in a
dream that Padmavati should be offered to His
devotee 'Jayadeva so that the Lord will be
satisfied and thus Devasharma did that and the
marriage of padmavati with Jayadeva was
solemnized. Another story reminds us that Lord
Jagannath used to listen to the songs of Gita
Govinda sung by a village woman, while plucking
brinjals from her kitchen garden in the night time
and it was found on the following day that the
cloth worn by the Lord was torn by thorns of the
brinjal plants. In that paticular night, both the priest
and king were told in a dream by Lord Himself
regarding His intense inclination for Gita Govinda.
The then king composed another Gita Govinda
and called by the same name. In order to conduct
a test of the likeness of the poem, the priest placed
the new Gita Govinda in the temple along with
the original work.But Lord Jagannath stepped
down from his throne and taking up both poems,
hurled Raja`s out of the temple and pleasantly
placed Jayadeva`s in his bosom. Thus, there are
a number of instances from whith it is also known
that Lord Jagannath and Bhakta Kavi Jayadeva
are inseparable and the devotional song, Gita
Govinda, which was written in propitiation of the
Lord paved the way for flowing an eternal stream
of devotion in the holy land of Lord Jagannath.
Vice Chancellor,
Rashtriya Sanskrit University,
Tirupati, Andhra Pradesh.
Routine Recitation of the Gitagovinda
1. Before the Holy Trinity in the Jagannath Temple, Puri (Jayadeva`s ritual practice is not revealed by
his poem, but the place of his songs in the Caitanya cult complements the Oriya tradition that
nightly performance in the worship of Jagannath at Puri has been continuous for more than 700
years Barbara Stoler Miller.
2. It is recited during the spring celebration in Nepal in honour of Goddess Saraswati in which worship
is offered to Kamadeva and his consort Rati
3. In the Annual Spring Fair in the village Kenduli in Birbhum district of West Bengal it is also recited
4. In some temples in South India Gitagovinda is recited according to the classical Karnatic system of
music.
156
The great Sanskrit poet Sri Jayadeva was born
on Akshaya Trutiya i.e. on the third day of bright
fortnight in the Hindu month Baisakha (April-
May). He was a saint-poet of Orissa. Every year,
People of Orissa remember this great soul and
commemorate his birth day on this day with much
display and pomp. The celebration of his birthday
begins with the Sankirtan Jatra from Ananta
Basudeb temple at Bhubaneswar to Sankha-
Kshetra Puri through the village Kenduli, the birth
place of Sri Jayadeva and Konark.
There was a debate and dispute on the
birth place of this great poet, who wrote the Gita-
Gobinda sometime in the twelfth century. The
difference of opinion is now settled and the birth
place of Sri Jayadeva is established.
Unquestionably, this great man was born in the
village Kendubilwa / Kenduvilva or popularly
known as Kenduli Sasan in Balipatna Block under
Balipatna Police Station in Khurda district. It is a
Brahmin dominated village located near the Prachi
river.
Sri Jayadeva had spent most of his life at
Sri Kshetra` or Jagannath Dham`, the abode of
Jagannath Mahaprabhu. At that time, enchanting
Padmabati was the Debadasi` or Mahari` i.e.
the temple dancer at Shri Jagannath Temple, Puri.
Debadasi` or Mahari` is the woman who is
dedicated and devoted to the deity in the temple
Saint - Poet Sri Jayadeva of Orissa
Dr. Chitrasen Pasayat
for performance of dance and music. The
celebrated poet was captivated by this charming
lady artist. He married her and spent his life at the
feet of Jagannath Mahaprabhu. It is believed that,
Jayadeva has institutionalized the Debadasi
Pratha` in Shri Jagannath Temple, Puri though this
Pratha` or tradition was introduced much earlier
from the time of Somavamsi Rajas.
Sri Jayadeva is famous for his noted
Gita-Gobinda Kavya`, which is divinely
decorated. Most probably, this Kavya was
composed in the first half of the twelfth century.
The earliest reference to Sri Jayadevaa outside
Orissa was made by the poet Chandabaradai,
the court poet of Maharaja Pruthwiraj Chauhan,
who was defeated and killed in the year 1192.
Another reference is found in an inscription of
Raja Sarangadev in the year 1201. These
references suggest us the popularity of the Gita-
Gobinda and reputation of Sri Jayadeva even
outside the state of Orissa. It is not only sung in
the temple of Jagannath Mahaprabhu but also
devotedly read by the rural folk in the villages all
through Orissa.
The Gita-Gobinda` acquires a distinctive
and exceptional place in the list of the celebrated
religious scriptures on this earth. It consists of
twelve chapters. It is divided into 24 songs and
each song consists of eight couplets. So, it is called
157
Astapadi`. It is a lyrical poem. It depicts the love
story of Radha and Krushna. It is a devotional
romantic poetry. It was composed mainly for
dance performance during the night worship of
Jagannath Mahaprabhu. In this context Tripathy
(2007:1) writes, 'As a sublime and spontaneous
display of devotional romantic poetry centering
around love episodes of Radha and Krushna, it
was the first of its kind to be included in the ritual
service of Lord Jagannath as an essential
component of worship.
The Gita-Gobinda` was composed so
beautifully that, it was easily fitted to the foot
movements of the dancers. Padmabati, wife of
Sri Jayadeva danced to the tunes of Gita-Gobinda
in the Srimandira of Sankha-Kshetra`. It is
believed that, the Gita-Gobinda as a dance drama
was first enacted in the Puri temple during the
rein of Kamarnava Deva (1146-1156). It is also
believed that, Narasingha Deva II (1278-1307)
had for the first time introduced singing of the Gita-
Gobinda in the service of Jagannath Mahaprabhu.
We may, however, avoid such dispute of opinion
regarding introduction of the Gita-Gobinda in the
Puri temple because, there is no denying the fact
that, the Gita-Gobinda is a god` grace. It is
extremely popular not only in Sri Kshetra` but
also throughout the country. As per the tradition,
Debadasi of Srimandira at Puri used to sing the
Gita-Gobinda` and perform dance at different
times of the day and on other special occasions
like Chandana Jatra`, Rukmini Bibaha`, Niladri
Bije`, Solaha Puja` of Bimala in the month of
Aswina (September-October) and during Bala-
Dhupa` in the month of Kartika (October-
November).
The first song of the Gita-Gobinda may
be called Dasavatara Strota`. It describes the
ten Avataras or incarnations of Lord Vishnu. Then,
the hero of the work is hailed. After that, the poet
portrays the spring season with feelings of Radha
and her desires to meet Krushna. Subsequently,
the poet describes the delightful dance of Krushna
with Gopis in Brundaban. Songs of the Gita-
Gobinda unfold the truth that, Sri Jayadeva was
a learned Sanskrit scholar. He was an expert in
the Hindu Sastra` and Puranas`. He had also
authority over music and dance. In this work, Sri
Jayadeva has narrat ed t he love scenes
passionately. Krushna is waiting Radha on the
bank of the river Jamuna and he was restless.
Narration is beyond compare. Depiction of the
scene of Krushna embracing Radha and madness
of Radha to meet Krushna etc. are matchless.
In fact, Jayadeva has introduced and
popularized the cult of Radha and Krushna in
Orissa through his divine composition the Gita-
Gobinda`.
Reference :
Tripathy, Ajit Kumar (2007), 'The Gitagovinda in the
History of Shree Jagannath Temple, Orissa Review,
May, P. 1-8.
152-Vijay Vihar, Nuagaon Road,
P.O. Sishupalgarh,
Bhubaneswar-751002.
R
158
Contribution of Orissa to Indian culture and
literature has been applauded. Orissa`s role for
enriching mediaval Sanskrit literature can not be
ignored in the history of Indian literature. In fact,
the art, literature and culture of Orissa marked a
distinction throughout India and abroad. But the
advent of a great Oriya poet in the 12
th
century
A.D created history and its smell pervades even
in this twenty first century with great gusto. He
was no other than Jayadeva. This masterpiece,
Gitagovinda is a great epic in India which vibrates
in the hearts of the every reader is no doubt a
meaty book today. No more controversy prevails
to day as his birth place Kenduli is adjacent to
Puri has been proved by researcher and scholars.
The 'Gita govinda the immortal epic of
Jayadev remains in the hearts of many as written
by an eminent poet and playwrite Kabichandra
Kalicharan Pattnaik. In his autobiography
Kumbhara Chaka (which has won National
Sahitya Akademi award) late poet mentions, I
became spellbound when I listened the Priya
Charusile song of Gitagovinda from my mother in
my childhood, when I grew up I used go through
the various explanatory interpretation of
Gitagovinda alongwith the biography of poet
Jayadeva. Then I prepared the entire text for the
stage drama on 21
st
August 1935 and its title was
Jayadeva. It was staged again in 1943 in the
pendal of Orissa Theatres (Cuttack) I had refuted
in this play the carards spread by Bengalis about
the birth place of Jayadeva. In 1967 March I was
invited to attended a seminar on Gitagovinda to
New Delhi. The seminar was organized by the
Sangit Natak Akademic, New Delhi and my joy
knew no boundary. I had to present a paper in
the seminar captioned as Gitagovinda in Odissi
Dance. The Singer Balakrushna Dash (no more
lives now) then sung Badasi Jadi Kinchadarpa
from the Gitagovinda as per my direction which
could spellbound the entire audience. Miss
Kumkum Das (now Mrs. Kumkum Mohanty)
performed three dances in Odissi style. They were
(i) Lalita Labanga Lata (ii) Rati Sukha Sare and
(iii) Pasyati Dasi Disi. This was applauded and
almost all national and vernacular newspapers had
covered this news widely. Those artists who had
accompanied me to New Delhi for that seminar
on 15.03.1967 were Kelucharan Mohapatra
(famous dance teacher who is no more now) Miss
Kumkum, violine player, Bhubaneswar Mishra
and singer Balakrushna Dash and Rakhal
Mohanty.
The famous writer and scholar of Orissa
who holds a key position in Orissa`s administration
as the Chief Secretary Mr. Ajit Kumar Tripathy
now has ascertained in one of his articles
published in Orissa Review in May 1988 that
Jayadev was born and brought up in Orissa. In
his article Jayadeva and Gitagovinda he mentions-
Thus it has been conclusively established by
research that Mahakavi Jayadeva was born in
Mahakabi Jayadeva
Gurukalyan Mohapatra
159
Kenduli in Utkal, learnt and later tought literature,
music and dance at the school in Kurma Patak in
Kalinga was invited to Puri with a dance troupe
during the reign of Chodagangadeva, settled there
composed Gitagovinda in Sri Jagannath temple.
Many articles and books have been
published in Oriya and English and some should
Important Translations of the Gitagovinda into English and other Europeon
Languages
GERMAN
(A) F.H Van Dalberg translated Gitagovinda into German. His translation was based on Jones`
English translation. Reading the German Text, Goethe commented-
'What struck me as remarkable are the extremely varied motives by which an extremely simple
subject is made endless (1802)
(B) A verse translation of the Gitagovinda by the German Poet Friedrich Ruckert, began in 1829 and
appeared in 1837
(C) F.Major
(D) A.W.Riemenschneider
ENGLISH
1. First English translation of Gitagovinda by William Jones published in Transections of the
Asiatic Society of Bengal, Calcutta in 1792 and reprinted in London in Asiatik Researches,
3(1799)
2. Edwin Arnold`s The Indian Song of Songs (London, 1875)
3. Sri Jayadeva`s Gitagovinda (The Loves of Krishna and Radha) by George Keyt (Kutub,
1940)
4. S.Lakshminarasimha Sastri`s The Gitagovinda of Jayadeva (Madras, 1956)
5. Duncan Greenlee`s theosophical rendering The song of Divine Love (Madras, 1962)
6. Monica Varma`s transcreation The Gitagovinda of Jayadeva (Calcutta,1968)
7. Jayadeva`s Gitagovinda (Love Song of the Dark Lord) Ed. & Trans. By Barbara Stoler
Miller (Oxford University Press1977)
LATIN
Latin translation with edited Sanskrit by Cristianus Lassen (Bonn, 1836)
FRENCH
By H.Foucher (Paris, 1850)
By G.Courtillier (Paris, 1904)
venture for making films and telefilms to capture
the attentions of many who are yet ignorant about
Jayadeva or his masterpiece, Gitagovinda.
Q.No.D-10/5, Unit-8
Bhubaneswar-751012
160
Gitagovinda Paintings
1. Thirty illustrated Gitagovinda palmleaf manuscripts are in the collection of Sri Jayadeva Orissa State Museum of
Bhubaneswar. The collection includes full Gitagovinda manuscripts, Dasavatara paintings and stray illustrated palmleaves.
2. Orissan Gitagovinda Paintings on Palmleaf.
(i) L.D.Institute, Ahmedabad, (ii) Chandigarh Museum, (iii) Salarjang Museum, (iv) Kamal and Jagadish Mittal Museum
of Indian Art, Hyderabad, (v) Asutosh Museum of Indian Art, Calcutta, (vi) Indian Museum, Calcutta, (vii) Museum RIETBERG,
Zurich, Swizerland, (viii) British Museum, London, (ix) India Office Library, London.
3. Orissan Gitagovinda Paintings on Paper
(i) Bharat Kala Bhawan, Banaras, (ii) British Museum, London, (iii) National Museum, New Delhi
The description of landscape that Jayadev has picturised in his Gitagovinda fully conforms to the landscape of
Orissan variety. The rural Orissa has plenty of Kesara, Kadamba, Vakula, Madhuka, Mandara, Asoka, Madhupa, Madhabi,
Atimukta and Palasa trees and creepers, which the scribes have best depicted in the illustrations. The river Yamuna of
Gitagovinda with palm groves on the bank and the mango arbours, tamala and malatikunja is a most common scene in Orissa.
The sea beach bathed in silvery moonlight and high surging waves are typical of the Puri sea coast. The description
of Malayagiri, the fragrance laden mild breeze carrying the scent of cloves from after greatly inspired Jayadeva in his poetic
creativity for a transcendental poetic experience. The very land of Orissa he traversed where he composed his songs stood as
a great picture.
(Source: Gitagovinda in Orissan Painting Traditions by Dr. Dinanath Pathy published in Orissa Review May 1992)
The Orissa State Museum preserves more than 100 mss. of the Gitagovinda collected from different parts of the
State. Besides Bir Library, National Archives, Kathamandu, Nepal possesses 45 mss of the Gitagovinda. The earliest mss is
dated 1447 A.D.
Other Gitagovinda Paintings
1. RPN Sinha`s Gitagovinda in Basholi School of Indian Paintings (New Delhi, 1958)
2. M.S Randhawa`s Kangra Paintings of the Gitagovinda (New Delhi, 1963)
3. Moti Chandra-Gitagovinda (New Delhi,1965)
OBSERVATIONS ON THE GITAGOVINDA
Although the legend of Jayadeva`s life has no historical values it does tell us that in the course of his wanderings
Jayadeva visited Puri, where he came under the influence of the Jagannath Cult and formed a special relationship with
Padmavati. The 'marriage of Jayadeva and Padmavati in the legend may be a velled allusion to his initiation in the Srivaisnava
Cult that was established in Puri under Ramanuja`s influence. The role of Krishna`s cowherdess consort Radha in the Gitagovinda
takes its cosmic significance from the context of recurrent references to Sri Jayadeva`s use of the epithet Jagadisa, 'Lord of the
World for Krishna in the first song is too similar to Jagannath to be accidental-the Gitagovinda may well have taken shape in
the richly syncretic environment in Puri in the 12
th
Century Barbara Stoler Miller
JAGANNATHAPURI PRANTE DESECAIVOTKALAVIDHE
KINDUVILVA ITI KHYATO GRAMO BRAHMANA SAMKULAH
TATROTKALE DVIJO JATO JAYADEVA ITI SRTAH
VIDYABHYASARATAH SANTAH PURUSOTTAMA PUJAKAH
(From Bhaktamala by Maithili poet Chandradatta, 17
th
Century)
(In Kenduvilva, a famous Brahmin village in Utkal near about Jagannath of Puri, a Brahmin was there known as Jayadeva who
was said to be a devotee of Purusottam who spent his time in studying the learned scriptures, Tr. Rajkishore Mishra ).
Courtesy : Orissa Review, May 1993 Issue
ORISSA REVIEW
VOL. LXV NO. 12 JULY - 2009
AJIT KUMAR TRIPATHY, I.A.S.
Chief Secretary
TARUN KANTI MISHRA, I.A.S.
Development Commissioner-cum- Addl. Chief Secretary
RABINDRA NATH DASH, I.A.S.
Commissioner-cum-Secretary
BAISHNAB PRASAD MOHANTY
Director-cum-Joint Secretary
SASANKA SEKHAR PANDA
Joint Director-cum-Deputy Secretary
Editor
Debasis Pattnaik
Production Assistance
Manas R. Nayak
Cover Design & Illustration
Hemanta Kumar Sahoo
Anuka Jena
Manoj Kumar Rath
Bikram Maharana
D.T.P. & Design
The Orissa Review aims at disseminating knowledge and information concerning Orissas
socio-economic development, art and culture. Views, records, statistics and information published
in the Orissa Review are not necessarily those of the Government of Orissa.
Published by Information & Public Relations Department, Government of Orissa,
Bhubaneswar - 751001 and Printed at Orissa Government Press, Cuttack - 753010.
For subscription and trade inquiry, please contact : Manager, Publications, Information & Public
Relations Department, Loksampark Bhawan, Bhubaneswar - 751001.
Five Rupees / Copy
E-mail :
iprsec@rediffmail.com
Visit : http://orissagov.nic.in
Contact : Ph. 0674-2394839
JAYADEVA & GITAGOVINDA
SPECIAL ISSUE
CONTENTS
Jayadeva and Gitagovinda Ajit Kumar Tripathy ... 1
Jayadeva : The Poet of Orissa Dr. K.C. Mishra ... 35
Jayadeva - The Celebrated Saint Poet of Orissa Indu Bhusan Kar ... 37
Poet Jayadeva Belongs to Orissa Tarakanta Mohanty ... 39
History of Odissi Dance and Sri Geeta
Govinda Dr. Jasobanta Narayan Dhar ... 41
Other Works of Shri Jayadeva Arun Kumar Upadhyaya ... 44
Jagannath Culture as Reflected in Gita Govinda Dr. B.L. Malla ... 47
Gitagovinda and Oriya Art Tradition Nimai Charan Mohanty ... 50
Miracles in the Life of Sri Jayadeva Somanath Jena ... 52
Jayadeva - The Immortal Poet of Orissa Dr. Dinabandhu Moharana ... 55
Jayadeva - A Devotee and a Poet Dina Krishna Joshi ... 56
Search for a Creative Criticism on Gita Gobinda Prafulla Kumar Mishra ... 60
Impact of Sri Geeta Govinda on Oriya Literature K.C. Patnaik ... 63
Sri Krsna - Jagannath Consciousness : Vyasa - Jayadeva -
Sarala Dasa Dr. Satyabrata Das ... 66
Dasavatara in the Temple Art of Upper Mahanadi Valley Sasanka Sekhar Panda ... 68
Jayadeva : His Vision and Resolution in Gitagovinda Rajkishore Mishra ... 76
Orissan Commentaries, Translations and Imitations of
Gitagovinda Dr. Bhagaban Panda ... 79
Sri Jayadeva in the Folklore of Orissa Nirupama Tripathy ... 84
Socio-Cultural Life as Reflected in Jayadeva's Gitagovinda Dr. Subash Chandra Dash ... 86
Jayadeva : The Legendary Poet of Orissa Dr. C.B. Patel ... 92
The Dramatic Aspects of Jayadeva in Gitagovinda Bibhuti Bhusan Mohapatra ... 95
Gitagovinda and Jagannath Culture Prabhat Kumar Nanda ... 98
Influence of Jayadeva's Gitagovinda on Oriya Literature Dr. Jyotsna Sahoo ... 103
Poet Jayadeva Dr. Satyakam Sengupta ... 107
Gita Govinda : A Devotional Homage to Madhava Asis Kumar Chakraborti ... 120
The Introductory Verse of Gitagovinda Dr. N.S.R. Ayengar ... 124
Gita Govinda of Shri Jayadeva in Art and Cultural Life
of Assam Dr. H.N. Dutta ... 130
Depictions of Nature in Gita Govinda Kavyam Gadadhar Mohapatra ... 138
Archaeological Remains In and Around Kenduvilwa Prafulla Chandra Tripathy ... 143
Sri Jayadeva - The King of Poets Jayanti Ratha ... 148
Jayadeva, Jagannath and Bhakti Movement in Orissa Prof. Harekrushna Satpathy ... 150
Saint Poet Sri Jayadeva of Orissa Dr. Chitrasen Pasayat ... 156
Mahakabi Jayadeva Gurukalyan Mohapatra ... 158
Gitagovinda Paintings ... 160
Jayadeva, the author of Gita Govinda was the most
celebrated poet of the 12th century A.D. His work, Gita
Govinda, a gem in the Classical Sanskrit Literature has
been translated into almost all Indian languages and many
foreign languages like English, French and German. As
a mark of utmost respect to this great poet of Orissa, the
Department of Posts, Government of India is releasing a
set of commemorative postage stamps on "Jayadeva &
Gita Govinda".
The Department of Information & Public Relations,
Government of Orissa is grateful to Mrs. Yasodhara
Menon, Chief Post Master General, Orissa for arranging
the release of these Postage Stamps on Shri Jayadeva &
Gita Govinda on 27th July, 2009 at Jayadeva Bhawan,
Bhubaneswar. This is indeed a historic and memorable
event.
We express our deep gratitude to Dr. C.B. Patel, Deputy
Director (Technical), Orissa State Museum,
Bhubaneswar for extending his kind help in bringing out
this Special Issue of Orissa Review on "Jayadeva &
Gita Govinda".
Editor, Orissa Review

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