{"count":17752,"next":"http://admin.kavishala.in/sootradhar/authors/?format=json&page=727","previous":"http://admin.kavishala.in/sootradhar/authors/?format=json&page=725","results":[{"id":27637,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/Fakir_Mohan_Senapati.jpg","name":"Fakir Mohan Senapati","bio":"
Fakir Mohan Senapati (Odia: ଫକୀର ମୋହନ ସେନାପତି; 13 January 1843 – 14 June 1918), often referred to as Utkala Byasa Kabi (Odisha's Vyasa), was an Indian writer, poet, philosopher and social reformer. He played a leading role in establishing the distinct identity of Odia, a language mainly spoken in the Indian state of Odisha. Senapati is regarded as the father of Odia nationalism and modern Odia literature.
Born to Lakhmana Charana Senapati and Tulasi Devi Senapati in a middle class Khandayat family. When he was one and half year old his father died. After fourteen months his mother also died. Since childhood he was taken care of by his grand mother.
Senapati's uncle was jealous of young Fakir Mohan and did not allow his education. His weak health also contributed to him being a late learner. He paid towards his educational expenses by working as a child labourer.
Senapati dedicated his life to the progress of Odia language in the later 19th and early 20th century. He is called the father of Odia fiction. At his native place, school, colleges and universities are constructed in his memory like Fakir Mohan College and Fakir Mohan University.
Mayadhar Mansingh had described Senapati as the Thomas Hardy of Odisha. Though he translated from Sanskrit, wrote poetry, and attempted many forms of literature, he is now known primarily as the father of modern Odia prose fiction. His four novels, written between 1897 and 1915, reflect the socio-cultural conditions of Odisha during the eighteenth and the beautiful boy centuries. While the three novels, Chha maana Atha Guntha, Mamu and Prayaschita explore the realities of social life in its multiple dimensions, 'Lachhama' is a historical romance dealing with the anarchical conditions of Odisha in the wake of Maratha invasions during the eighteenth century. Chha Maana Atha Guntha is the first Indian novel to deal with the exploitations of landless peasants by the feudal Lord. It was written much before the October revolution of Russia or much before the emerging of Marxist ideas in India. Fakir Mohan is also the writer of the first autobiography in Odia, \"Atma Jeebana Charita\" .
His \"Rebati\" (1898) is widely recognized as the first Odia short story. It is the story of a young innocent girl whose desire for education is placed in the context of a conservative society in a backward Odisha village, which is hit by the killer epidemic cholera. His other stories are \"Patent Medicine\", \"Daka Munshi\", \"Adharma Bitta\" etc. His short stories are complied in books \"galpa swalpa-1 and 2\".
He wrote a long poem, Utkala Bhramanam, that first appeared in 1892. Literally meaning Tour of Odisha, this poem, in reality, is not a travelogue but a commentary on the state of affairs in the Odisha of that time, written in a satirical manner.
Senapati married Leelavati Devi in 1856 when he was aged thirteen. She died when he was 29 leaving behind a daughter. In summer 1871, he married Krushna Kumari Dei, who died in 1894 leaving behind a son and a daughter.
Media related to Fakir Mohan Senapati at Wikimedia Commons","raw_bio":"Fakir Mohan Senapati (Odia: ଫକୀର ମୋହନ ସେନାପତି; 13 January 1843 – 14 June 1918), often referred to as Utkala Byasa Kabi (Odisha's Vyasa), was an Indian writer, poet, philosopher and social reformer. He played a leading role in establishing the distinct identity of Odia, a language mainly spoken in the Indian state of Odisha. Senapati is regarded as the father of Odia nationalism and modern Odia literature. Born to Lakhmana Charana Senapati and Tulasi Devi Senapati in a middle class Khandayat family. When he was one and half year old his father died. After fourteen months his mother also died. Since childhood he was taken care of by his grand mother. Senapati's uncle was jealous of young Fakir Mohan and did not allow his education. His weak health also contributed to him being a late learner. He paid towards his educational expenses by working as a child labourer. Senapati dedicated his life to the progress of Odia language in the later 19th and early 20th century. He is called the father of Odia fiction. At his native place, school, colleges and universities are constructed in his memory like Fakir Mohan College and Fakir Mohan University. Mayadhar Mansingh had described Senapati as the Thomas Hardy of Odisha. Though he translated from Sanskrit, wrote poetry, and attempted many forms of literature, he is now known primarily as the father of modern Odia prose fiction. His four novels, written between 1897 and 1915, reflect the socio-cultural conditions of Odisha during the eighteenth and the beautiful boy centuries. While the three novels, Chha maana Atha Guntha, Mamu and Prayaschita explore the realities of social life in its multiple dimensions, 'Lachhama' is a historical romance dealing with the anarchical conditions of Odisha in the wake of Maratha invasions during the eighteenth century. Chha Maana Atha Guntha is the first Indian novel to deal with the exploitations of landless peasants by the feudal Lord. It was written much before the October revolution of Russia or much before the emerging of Marxist ideas in India. Fakir Mohan is also the writer of the first autobiography in Odia, \"Atma Jeebana Charita\" . His \"Rebati\" (1898) is widely recognized as the first Odia short story. It is the story of a young innocent girl whose desire for education is placed in the context of a conservative society in a backward Odisha village, which is hit by the killer epidemic cholera. His other stories are \"Patent Medicine\", \"Daka Munshi\", \"Adharma Bitta\" etc. His short stories are complied in books \"galpa swalpa-1 and 2\". He wrote a long poem, Utkala Bhramanam, that first appeared in 1892. Literally meaning Tour of Odisha, this poem, in reality, is not a travelogue but a commentary on the state of affairs in the Odisha of that time, written in a satirical manner. Senapati married Leelavati Devi in 1856 when he was aged thirteen. She died when he was 29 leaving behind a daughter. In summer 1871, he married Krushna Kumari Dei, who died in 1894 leaving behind a son and a daughter. Media related to Fakir Mohan Senapati at Wikimedia Commons","slug":"fakir-mohan-senapati","DOB":"1843-01-13","DateOfDemise":null,"location":"","url":"/sootradhar/fakir-mohan-senapati","tags":null,"created":"2023-12-27T18:49:58.399761","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27638,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/Shraddhakar_Supakar.jpg","name":"Shraddhakar Supakar","bio":"
Shraddhakar Supakar (14 September 1914 – 5 January 1993) was a social activist, politician and writer. He was a member of Odisha Legislative Assembly, Lok Sabha and Rajya Sabha. Supakar was a lawyer by profession. He was associated in different capacities with many educational institutions and Universities. He was also a member of Odisha Text Book Committee during 1939–41. A firm believer in civil liberties, Supakar was Chairman of Reception Committee, All India Civil Liberties Conference, Cuttack Session held in 1954.
Shraddhakar Supakar was an elected member of Odisha Legislative Assembly during 1952-56 and 1985-1990 representing Rairakhol and Sambalpur constituency. He served as Leader of Opposition during 1952-56 and as pro tem speaker in 1985.[] He was an elected member of the Second and Fourth Lok Sabha during 1957-62 and 1967-70 representing Sambalpur constituency of Odisha. He was also a member of Rajya Sabha during 1965–67.

This article about an Indian National Congress politician from Odisha is a stub. You can help Kavishala by expanding it.","raw_bio":"Shraddhakar Supakar (14 September 1914 – 5 January 1993) was a social activist, politician and writer. He was a member of Odisha Legislative Assembly, Lok Sabha and Rajya Sabha. Supakar was a lawyer by profession. He was associated in different capacities with many educational institutions and Universities. He was also a member of Odisha Text Book Committee during 1939–41. A firm believer in civil liberties, Supakar was Chairman of Reception Committee, All India Civil Liberties Conference, Cuttack Session held in 1954. Shraddhakar Supakar was an elected member of Odisha Legislative Assembly during 1952-56 and 1985-1990 representing Rairakhol and Sambalpur constituency. He served as Leader of Opposition during 1952-56 and as pro tem speaker in 1985.[] He was an elected member of the Second and Fourth Lok Sabha during 1957-62 and 1967-70 representing Sambalpur constituency of Odisha. He was also a member of Rajya Sabha during 1965–67. This article about an Indian National Congress politician from Odisha is a stub. You can help Kavishala by expanding it.","slug":"shraddhakar-supakar","DOB":"1914-09-14","DateOfDemise":null,"location":"","url":"/sootradhar/shraddhakar-supakar","tags":null,"created":"2023-12-27T18:50:02.294720","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27639,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/kavishala_logo.png","name":"Chakradhar Singh","bio":"
Raja Chakradhar Singh (19 August 1905 −7 October 1947) was the Raja of Raigarh and Chief of Bargarh ruled by Gond dynasty. He was the ruler of Princely state of Raigarh from 1924 till his death in 1947. He was son of Raja Bhup Deo Singh, who died in 1917.
He completed his education from Rajkumar College, Raipur. He succeeded to throne of Raigrah upon death of his elder brother, Raja Natwar Singh in 1924. The government management however continued till 1927 when Raja was invested with powers.\r\n
He was a great patron of Indian arts, classical dance, music invited to his capital music and dance-experts from different parts of the country. His contribution has been important in the development of the classical form of Kathak. During the reign of Raja Chakradhar Singh, experts of both the gharanas, namely, Jaipur and Lucknow gained prominent positions and were patronised by him. Even experts from Benares gharana were in his court. The Raigarh Gharana of Kathak was established by him during his reign, which produced many luminaries, dancers, singers and musicians due to his patronage and philanthropy. Among the noted Kathak exponents to have served his court were Pandit Jaggannath Prasad of Jaipur Gharana and Guru Kalaka Prasad and his sons of Lucknow Gharana. He invented a new dance form by mixing different dance forms, which led to foundation of Raigarh Gharana. Raigarh Gharana thus founded by Raja Chakradhar Singh, although the youngest of all gharanas, has its own compositions of thumris, ghazals, todas and bols which are unique in themselves.
Chakradhar Singh was himself a great exponent of tabla and pakhawaj. He was himself also a good dancer and musician. His patronage extended to all dancers irrespective of their gharana. His name is often taken with Wajid Ali Shah of Awadh as a patron of classical Indian dance and music, especially with respect to Kathak dance and Hindustani classical music. Among the dancers and musicians to have performed or served his court were Pandit Makhan Lal Chaturvedi, Dr. Ramkumar Verma, Pandit Mahaveer Prasad Dwivedi, Pandit Padumlal Punnalal Bakshi. Even Sanskrit language writers like Pandit Sadashiv Das, Pandit Sharda Prasad, Pandit Kashi Dutt Jha served him, through them he translated a lot of music and dance literature in Sanskrit.
In 1938, Chakradhar Singh headed the first All India Music Conference held at Allahbad. In this conference Chakradhar Singh went with his team of 60 artists. In 1939, the conference organised a welcome party for Viceroy of India, where Kathak dancer Karthik Kalyan presented the dance and was assisted by Chakradhar Singh, who played tabla. He was given title of Sangit Samrat - (King of Music) by the Viceroy Lord Linlithgow at this conference. In 1943 conference at Khairagarh, he again played tabla for the dance performance of Kalyan Das.
He had a very good knowledge of Hindi, Sanskrit, Urdu and Oriya and has written several books on Indian traditional music such as
Raja Chakaradhar Singh died on 7 October 1947 just after independence of India. After his death, Lalit Kumar Singh, his son succeeded him to the throne of Raigarh and ruled briefly before the Raigarh State was merged into Union of India on 14 December 1947.
The princely states of Jashpur, Raigarh, Sakti, Sarangarh and Udaipur were united later to form the Raigarh district.
His second son Surendra Kumar Singh was s politician of Indian National Congress.
There is a music academy established after him, as his memorial at Raigarh.","raw_bio":"Raja Chakradhar Singh (19 August 1905 −7 October 1947) was the Raja of Raigarh and Chief of Bargarh ruled by Gond dynasty. He was the ruler of Princely state of Raigarh from 1924 till his death in 1947. He was son of Raja Bhup Deo Singh, who died in 1917. He completed his education from Rajkumar College, Raipur. He succeeded to throne of Raigrah upon death of his elder brother, Raja Natwar Singh in 1924. The government management however continued till 1927 when Raja was invested with powers.\r He was a great patron of Indian arts, classical dance, music invited to his capital music and dance-experts from different parts of the country. His contribution has been important in the development of the classical form of Kathak. During the reign of Raja Chakradhar Singh, experts of both the gharanas, namely, Jaipur and Lucknow gained prominent positions and were patronised by him. Even experts from Benares gharana were in his court. The Raigarh Gharana of Kathak was established by him during his reign, which produced many luminaries, dancers, singers and musicians due to his patronage and philanthropy. Among the noted Kathak exponents to have served his court were Pandit Jaggannath Prasad of Jaipur Gharana and Guru Kalaka Prasad and his sons of Lucknow Gharana. He invented a new dance form by mixing different dance forms, which led to foundation of Raigarh Gharana. Raigarh Gharana thus founded by Raja Chakradhar Singh, although the youngest of all gharanas, has its own compositions of thumris, ghazals, todas and bols which are unique in themselves. Chakradhar Singh was himself a great exponent of tabla and pakhawaj. He was himself also a good dancer and musician. His patronage extended to all dancers irrespective of their gharana. His name is often taken with Wajid Ali Shah of Awadh as a patron of classical Indian dance and music, especially with respect to Kathak dance and Hindustani classical music. Among the dancers and musicians to have performed or served his court were Pandit Makhan Lal Chaturvedi, Dr. Ramkumar Verma, Pandit Mahaveer Prasad Dwivedi, Pandit Padumlal Punnalal Bakshi. Even Sanskrit language writers like Pandit Sadashiv Das, Pandit Sharda Prasad, Pandit Kashi Dutt Jha served him, through them he translated a lot of music and dance literature in Sanskrit. In 1938, Chakradhar Singh headed the first All India Music Conference held at Allahbad. In this conference Chakradhar Singh went with his team of 60 artists. In 1939, the conference organised a welcome party for Viceroy of India, where Kathak dancer Karthik Kalyan presented the dance and was assisted by Chakradhar Singh, who played tabla. He was given title of Sangit Samrat - (King of Music) by the Viceroy Lord Linlithgow at this conference. In 1943 conference at Khairagarh, he again played tabla for the dance performance of Kalyan Das. He had a very good knowledge of Hindi, Sanskrit, Urdu and Oriya and has written several books on Indian traditional music such as Raja Chakaradhar Singh died on 7 October 1947 just after independence of India. After his death, Lalit Kumar Singh, his son succeeded him to the throne of Raigarh and ruled briefly before the Raigarh State was merged into Union of India on 14 December 1947. The princely states of Jashpur, Raigarh, Sakti, Sarangarh and Udaipur were united later to form the Raigarh district. His second son Surendra Kumar Singh was s politician of Indian National Congress. There is a music academy established after him, as his memorial at Raigarh.","slug":"chakradhar-singh","DOB":"1905-08-19","DateOfDemise":null,"location":"","url":"/sootradhar/chakradhar-singh","tags":null,"created":"2023-12-27T18:50:08.412515","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27640,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/kavishala_logo.png","name":"Mayadhar Swain","bio":"
Mayadhar Swain is an Odia writer from Odisha, India.
Mayadhar Swain was born on 8 February 1956 in the village Baselihata of Cuttack district in the state of Odisha, India. He passed matriculation from a rural school, Banshidhar Bidyapith at Kanpur in 1972 with National first class and secured 6th rank in entire Odisha. He passed I.Sc. from Revenshaw College, Cuttack in 1st Division in 1974. He got B.Sc. in Electrical Engineering UCE Burla in 1979 with distinction of 1st class 1st in Sambalpur University. Then he successfully completed M.E. in Water Resources Development from prestigious I.I.T., Roorkee with 1st class Hons with Distinction in 1989. He is married to Mrs. Abanti Swain who has been a catalyst in his several academic and research pursuits .
Mayadhar started his career in National Thermal Power Corporation (NTPC),New Delhi from 1979 to 1982 and later in Talcher Thermal Power Station (TTPS) from 1982 to 1988 as Assistant Engineer. Then he joined the upper Kolab hydro power plant under the Odisha Hydro Power Corporation and as Assistant Manager and was promoted to Deputy Manager from 1989 to 2000. Later, he quit and joined MECON Limited, Ranchi where he held the post of Deputy General Manager. He has vast expertise in power plant technology. He has published more than 50 papers in various journals & presented in seminars mainly on Power System. He is one of the widely and nationally acclaimed Electrical engineers of India. After his superannuation from MECON,a GOI undertaking, he works as Professor and Director, heading the School of Electrical Engineering in KITT University, Bhubaneswar.
Mayadhar Swain is a freelance science writer of Odisha. He has written articles extensively on science, engineering and mathematics in newspapers, journals and magazines of the State for over three decades. He has written about seven hundred articles on popular science. He is a member of the Editorial Board of the periodical, Science Horizon, published by Odisha Bigyan Academy. Several of his talks on science and engineering have been organised on both Doordarshan and All India Radio. He has authored 50 books on popular science for the general public from different walks of life, students and children. He writes in vernacular Oriya language for Oriya-speaking people. He was conferred Life Time Achievement Award for popularization of science by All India People's Science Network (AIPSN), Bharat Gyan Vigyan Samti (BGVS) and National Institute of Science Education and Research (NISER) collectively on the occasion of 16th All India People'S Science Congress, held at NISER Bhubaneswar during Feb 2018,published in leading Odia daily,Dharitri, dated 13th Feb,2018.","raw_bio":"Mayadhar Swain is an Odia writer from Odisha, India. Mayadhar Swain was born on 8 February 1956 in the village Baselihata of Cuttack district in the state of Odisha, India. He passed matriculation from a rural school, Banshidhar Bidyapith at Kanpur in 1972 with National first class and secured 6th rank in entire Odisha. He passed I.Sc. from Revenshaw College, Cuttack in 1st Division in 1974. He got B.Sc. in Electrical Engineering UCE Burla in 1979 with distinction of 1st class 1st in Sambalpur University. Then he successfully completed M.E. in Water Resources Development from prestigious I.I.T., Roorkee with 1st class Hons with Distinction in 1989. He is married to Mrs. Abanti Swain who has been a catalyst in his several academic and research pursuits . Mayadhar started his career in National Thermal Power Corporation (NTPC),New Delhi from 1979 to 1982 and later in Talcher Thermal Power Station (TTPS) from 1982 to 1988 as Assistant Engineer. Then he joined the upper Kolab hydro power plant under the Odisha Hydro Power Corporation and as Assistant Manager and was promoted to Deputy Manager from 1989 to 2000. Later, he quit and joined MECON Limited, Ranchi where he held the post of Deputy General Manager. He has vast expertise in power plant technology. He has published more than 50 papers in various journals & presented in seminars mainly on Power System. He is one of the widely and nationally acclaimed Electrical engineers of India. After his superannuation from MECON,a GOI undertaking, he works as Professor and Director, heading the School of Electrical Engineering in KITT University, Bhubaneswar. Mayadhar Swain is a freelance science writer of Odisha. He has written articles extensively on science, engineering and mathematics in newspapers, journals and magazines of the State for over three decades. He has written about seven hundred articles on popular science. He is a member of the Editorial Board of the periodical, Science Horizon, published by Odisha Bigyan Academy. Several of his talks on science and engineering have been organised on both Doordarshan and All India Radio. He has authored 50 books on popular science for the general public from different walks of life, students and children. He writes in vernacular Oriya language for Oriya-speaking people. He was conferred Life Time Achievement Award for popularization of science by All India People's Science Network (AIPSN), Bharat Gyan Vigyan Samti (BGVS) and National Institute of Science Education and Research (NISER) collectively on the occasion of 16th All India People'S Science Congress, held at NISER Bhubaneswar during Feb 2018,published in leading Odia daily,Dharitri, dated 13th Feb,2018.","slug":"mayadhar-swain","DOB":"1956-02-08","DateOfDemise":null,"location":"","url":"/sootradhar/mayadhar-swain","tags":null,"created":"2023-12-27T18:50:14.846976","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27641,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/Srinibash_Udgata.jpg","name":"Srinibash Udgata","bio":"
Srinivas Udgata (born 6 January 1935), is a poet, story and drama writer, painter, novelist and translator from Odisha, India.
He has been awarded Padma Shri award in 2008 by the president of India in 2008 for Literature and Education. He received the Jhankar Award in 1974. In 2002 for his poetry he has received Bharati Bharati Award for his From the Hindi Sahitya Sanstha of Uttar Pradesh. Besides these awards, he has also received the Sarala Award in 2002, Sarala Samman in 2002 and Acharya Vidyasagar Samman from Calcutta. He was honored with Bidhubhusan Guru Smruti Samman in 2022 by Bidhubhusan Guru Smruti Parishad. He received his D.Litt. from Sambalpur University. The title \"Vidyavachaspati\" awarded by Prayag Sahitya Sammelan, Allahabad, Award from Kendriya Sahitya Akademi, U.P. Hindi Sahitya Sansthan, Lucknow- Souhardya Samman etc. He was president of Orissa Sahitya Akademi from 1994 to 1997. He is continuing as president of Atmaprakashani (A Writers' Association). He has been awarded & honored by more than 100 organisations in India.[]","raw_bio":"Srinivas Udgata (born 6 January 1935), is a poet, story and drama writer, painter, novelist and translator from Odisha, India. He has been awarded Padma Shri award in 2008 by the president of India in 2008 for Literature and Education. He received the Jhankar Award in 1974. In 2002 for his poetry he has received Bharati Bharati Award for his From the Hindi Sahitya Sanstha of Uttar Pradesh. Besides these awards, he has also received the Sarala Award in 2002, Sarala Samman in 2002 and Acharya Vidyasagar Samman from Calcutta. He was honored with Bidhubhusan Guru Smruti Samman in 2022 by Bidhubhusan Guru Smruti Parishad. He received his D.Litt. from Sambalpur University. The title \"Vidyavachaspati\" awarded by Prayag Sahitya Sammelan, Allahabad, Award from Kendriya Sahitya Akademi, U.P. Hindi Sahitya Sansthan, Lucknow- Souhardya Samman etc. He was president of Orissa Sahitya Akademi from 1994 to 1997. He is continuing as president of Atmaprakashani (A Writers' Association). He has been awarded & honored by more than 100 organisations in India.[]","slug":"srinibash-udgata","DOB":"1935-01-06","DateOfDemise":null,"location":"","url":"/sootradhar/srinibash-udgata","tags":null,"created":"2023-12-27T18:50:18.876267","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27642,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/kavishala_logo.png","name":"Achyutananda Dasa","bio":"
Mahapurusa Achyutananda Dasa (Odia:-ଅଚ୍ୟୁତାନନ୍ଦ ଦାସ ) was a 16th-century poet seer and Vaishnava saint from Odisha, India. He was popularly known as Gopala Guru. He was considered to have the power to see the past, present and future. He was a prolific author, and one of the group of five, that led a revolution in spirituality in Odisha by translating Sanskrit texts into the Odia language for common people.
He was one of the famous five seers collectively called Panchasakha, who translated the ancient Hindu scriptures into Odia, for the people of Odisha. Achyutananda Dasa was the most prolific writer of the Panchasakha and wrote numerous books, many of which could be loosely translated as the Book of Prophecies. He is known as the Mahapurusa (a Great Person) for his vast knowledge on many subjects such as spirituality, Yoga, rituals, Yantra, Tantra, Ayurveda, and other various shastras. His major works include Harivamsa (in Oriya), Kaibarta Gita, Gopalanka-ogala, Gurubhakti Gita, Anakar-samhita, Chahayalisa-patala etc.
As Achyutananda became a popular figure, much of his life began to become legend. He is famous for being one of the few who wrote about the social situation of his time and this is a scholarly reason many study his writings. His poetry was often cryptic about himself, and written in code or analogies. Mahapurusa Achyutananda belonged to Gopal caste by birth. His surname Dasa means servant of God.
Achyutananda was born in a village by the name Tilakana, where two distributaries of the Mahanadi, Luna (Labana Dhara) and Chitrotpala bifurcated, of Cuttack district of Odisha, during the twenty first anka (year of region) of the Gajapati (king) Purushottama Deva. This is thought to be somewhere between 1480 and 1505 by different scholars. His mother was Padmavati, and his father was Dinabandhu Khuntia, and his grandfather was Gopinatha Mohanty, a scribe in the Jagannath Temple, Puri. He was born after his mother prayed at the pillar in front of the Jagannath Temple, and his father had a dream that the divine bird Garuda brought him a child. In legend he is believed to be an incarnation of Garuda. He left his samadhi at Nemalo village at Cuttack. His predecessors are Mahanta Gagananda Gosain, Mahanta Nigamananda Gosain and others
Achyutananda had a formal education in Puri. It is agreed by most texts that, like many contemporaries, he met Shri Chaitanya Mahaprabhu in his youth, and took mantra initiation from him. It is important to differentiate that he was an Utkaliya Vaishnava (ancient Odisha school of Vaishnavism, Jagannatha Temple tradition), not a Gaudiya Vaishnavism (which means Bengali Vaishnavism). He became the youngest of the Panchasakha.
Achyutānanda was part of the famous Panchasakha ('five friends'), who lived between 1450 and 1550 CE. The contemporaneous five saints – Achyutānanda Dasa, Sisu Ananta Dasa, Jasobanta Dasa, Jagannātha Dasa, and Balarāma Dasa - shaped Vaiṣṇava philosophy, spiritualism and literature of Odisha.
Two important factors set the Panchasakhas apart from other Indian Hindu Saints. They were the first to take the Hindu Sanskrit texts into the reach of the common people, by translating them into the local language (Odia). This was first done by Sāralā Dasa's translation of the Mahābhārata in the mid-15th century, followed by Balarama Dasa's Jagamohana Ramayana, Jagannath Dasa's Bhagavata Purana, and Achyutananda Dasa's Harivamsa. The second aspect is their form of Odia Vaiṣṇavism, traditionally called Utkaliya Vaishnavism, which sees God as the \"Sunya Purusa\" and the nature of the soul as being able to merge into the Absolute.
Some authors, such as N.N. Vasu, have depicted Odia Vaishnavism as 'Buddhist-Vaishnavism', since it does not accept Ramanuja's Viśiṣṭādvaita philosophy (11th century), nor does it adhere to orthodox Gaudiya Vaishnavism created in the 16th century Bengal. Other scholars, such as Prabhat Mukerjee, have denied these claims supporting the different varieties of Vaishnava philosophy. Scholars debate the influence of the Panchasakha from the original Vaishnava Agama (Pancharatras) while others source their ideas in Sahajayana Buddhism, and the Natha sampradaya. Both the Sahajayana Buddhists and the Panchasakha worshipped the image of Jagannatha as the Buddha, though the Panchasakhas saw Jagannatha as an incarnation of Vishnu as seen in the Dasāvatara image on the main mantel of the Jagannatha Temple.
Utkaliya Vaishnavism (sometimes called Odia Vaishnavism in modern literature) developed into its present state, in the 15th century. According to the Panchasakhas, Lord Jagannath is the \"Purna-Brahma\", and all the avatars of Vishnu emanate from Him, and also enter into Him at the end. Jagannatha was the chief god of the devotional sect. The chief ideal of the Panchasakhas was that as a bhakta they would be faithful, humble, learned, selfless, active, benevolent and affectionate. The Panchasakhas were against the caste system; they considered all beings as one. They translated the Sanskrit Classics into local language, Odia. Anyone could become a Vaishnava, even Muslims.
At the time of Shri Chaitanya, his followers who came from Nadia, called later as Gaudiya, considered themselves greater or superior to the Utkaliya Vaishnavas and disregarded them. So there was a cold war between them. Because of the animosity between the sects, Shri Chaitanya conferred the title of 'Atibadi' (the greatest one) on Jagannatha Dasa. The conflict of these two groups is evident in the Barana Charita Gita of Achyutananda and Jagannatha Charitamruta of Dibakara Dasa, and even in modern-day derogatory language of the Gaudiya Vaishnavas towards the Utkaliya Vaishnavas.
nāhi tāhāra rūpa varṇa, adṛsha avarṇa tā cinha.\r\ntāhāku brahmā boli kahi, śūnya brahmhati se bolāi.
It has no shape, no colour, \r\nIt is invisible and without a name\r\nThis Brahman is called Sunya Brahman.
Achyutananda (and the other four saints) believed in a concept of God (Vishnu) as Sunya (emptiness, void, zero) called Sunya Purusa and/or Sunya Brahman. This sunya signifies a transcendental principle that eludes the conceptual nexus applied to human thinking as described in the Upanishads. Achyutananda's culminating work is called the Sunya Samhita where he discusses this philosophy in depth.
śūnyara ākāra viira śūnyara vicāra, śūnye thāi dekha vīra e sacarācara.\r\ndekha e sacarācara śūnyare prakāsha, śūnyu ude hoicanti śūnyare vilāse.
Oh vira look at the sunya\r\nBy placing yourself in sunya, \r\nAnd meditate on mahasunya,\r\nSunya itself is the form,\r\nGround of all discriminating knowledge.\r\nLook at the whole world from the pedestal of sunya;\r\nYou will find everything manifested in the sunya,\r\nEverything arises out of sunya and\r\nEverything flourishes in the Sunya Brahman.
The philosophy sees Sunya as being full or whole (purna), and this view of Brahman is sometimes called the Purna Sunya (the full/complete void). The Panchasakhas project the deity Jagannatha as the embodiment of the Sunya Purusa. Achyutananda uses a classical (pre-Ramanuja) concept of Vaishnavism that uses both form, and formless aspects of god. This is seen in his statement from the Gurubhakti Gita :
dui je deṇāre pakṣī uḍikari jāi, dui je cakṣure sehi saṃsāre khelai.\r\neka je na thile kaṇā dui gale anḍha, eṇukari nirguṇa saguṇa sehi bheda.
A bird can only fly with both wings. It can have a perfect vision with both the eyes. In the absence of one, it becomes one-eyed, and in the absence of both, it is totally blind. Thus like two eyes Nirguna [god perceived as formless]and Saguna [god perceived with form] are chained together.
The Panchasakhas were Vaishnavas by thought. But they differed from Chaitanya's path of devotion and preached Jnana-mishra bhakti or Devotion with mix of Wisdom. Chaitanya's path of devotion was known as Raganuga Bhakti Marga (brought to Odisha in 1509), which says all one needs is love (devotion) to reach God. The Panchasakhas believed that one needs a combination of love (bhakti) and wisdom (Jnana) to reach God. With one's knowledge, if one shows one's pure love (bhakti), one can definitely reach the Sunyatma. The Panchasakhas therefore promoted a Vaishnavism that involved study of scriptures, yoga, rituals, and devotion.
The concept of the Piṇḍa-Brahmāṇḍa is that the body (Piṇḍa) is a replica of the Universe (Brahmāṇḍa), or microcosm is a reflection of the macrocosm. Many of the yogic teachings of Achyutananda are based on this core concept. His teachings are filled with references to outer locations existing as energies in the body.
The concept of the Sabda Brahman is that God created the universe as sound, and that all things have sound vibration as their essence. The writings of Achyutananda are filled with mantras and esoteric concepts about sounds and their effects on consciousness. For example, in Achyutananda's Rama Rasa Boli, the demon Ravanna is said to have meditated on the sound \"Sleem\" while focusing on the ten other sacred sounds (yoga-dasakhyara) to please Goddess Sita. Even more esoteric is this verse from the Sunya Rahasa where one can see the interwoven nature of internal yogic theory and sound found in Achyutananda's writings:
Oh Jnanins: utter the name of Hari [God]\r\nMay be you are the eldest or the youngest.\r\nPiercing six chakras blooms the lotus\r\nNear the ethereal void of air\r\nBetween the Sutala and Rasatala\r\nThe bee abides at the zenith of the void\r\nOne is not a servant of the Lord just because they have a rosary\r\nUnless he utters the name of Krisna in his inner heart;\r\nThe Name is the seed, rosary its robe\r\nRosary is of no use if God's name is mindlessly uttered\r\nThe three cords are the three triadic streams\r\nMake your oblations there\r\nAyudhya, Dwarika, and the city of Gopa\r\nThis knowledge is memorised by every soul.","raw_bio":"Mahapurusa Achyutananda Dasa (Odia:-ଅଚ୍ୟୁତାନନ୍ଦ ଦାସ ) was a 16th-century poet seer and Vaishnava saint from Odisha, India. He was popularly known as Gopala Guru. He was considered to have the power to see the past, present and future. He was a prolific author, and one of the group of five, that led a revolution in spirituality in Odisha by translating Sanskrit texts into the Odia language for common people. He was one of the famous five seers collectively called Panchasakha, who translated the ancient Hindu scriptures into Odia, for the people of Odisha. Achyutananda Dasa was the most prolific writer of the Panchasakha and wrote numerous books, many of which could be loosely translated as the Book of Prophecies. He is known as the Mahapurusa (a Great Person) for his vast knowledge on many subjects such as spirituality, Yoga, rituals, Yantra, Tantra, Ayurveda, and other various shastras. His major works include Harivamsa (in Oriya), Kaibarta Gita, Gopalanka-ogala, Gurubhakti Gita, Anakar-samhita, Chahayalisa-patala etc. As Achyutananda became a popular figure, much of his life began to become legend. He is famous for being one of the few who wrote about the social situation of his time and this is a scholarly reason many study his writings. His poetry was often cryptic about himself, and written in code or analogies. Mahapurusa Achyutananda belonged to Gopal caste by birth. His surname Dasa means servant of God. Achyutananda was born in a village by the name Tilakana, where two distributaries of the Mahanadi, Luna (Labana Dhara) and Chitrotpala bifurcated, of Cuttack district of Odisha, during the twenty first anka (year of region) of the Gajapati (king) Purushottama Deva. This is thought to be somewhere between 1480 and 1505 by different scholars. His mother was Padmavati, and his father was Dinabandhu Khuntia, and his grandfather was Gopinatha Mohanty, a scribe in the Jagannath Temple, Puri. He was born after his mother prayed at the pillar in front of the Jagannath Temple, and his father had a dream that the divine bird Garuda brought him a child. In legend he is believed to be an incarnation of Garuda. He left his samadhi at Nemalo village at Cuttack. His predecessors are Mahanta Gagananda Gosain, Mahanta Nigamananda Gosain and others Achyutananda had a formal education in Puri. It is agreed by most texts that, like many contemporaries, he met Shri Chaitanya Mahaprabhu in his youth, and took mantra initiation from him. It is important to differentiate that he was an Utkaliya Vaishnava (ancient Odisha school of Vaishnavism, Jagannatha Temple tradition), not a Gaudiya Vaishnavism (which means Bengali Vaishnavism). He became the youngest of the Panchasakha. Achyutānanda was part of the famous Panchasakha ('five friends'), who lived between 1450 and 1550 CE. The contemporaneous five saints – Achyutānanda Dasa, Sisu Ananta Dasa, Jasobanta Dasa, Jagannātha Dasa, and Balarāma Dasa - shaped Vaiṣṇava philosophy, spiritualism and literature of Odisha. Two important factors set the Panchasakhas apart from other Indian Hindu Saints. They were the first to take the Hindu Sanskrit texts into the reach of the common people, by translating them into the local language (Odia). This was first done by Sāralā Dasa's translation of the Mahābhārata in the mid-15th century, followed by Balarama Dasa's Jagamohana Ramayana, Jagannath Dasa's Bhagavata Purana, and Achyutananda Dasa's Harivamsa. The second aspect is their form of Odia Vaiṣṇavism, traditionally called Utkaliya Vaishnavism, which sees God as the \"Sunya Purusa\" and the nature of the soul as being able to merge into the Absolute. Some authors, such as N.N. Vasu, have depicted Odia Vaishnavism as 'Buddhist-Vaishnavism', since it does not accept Ramanuja's Viśiṣṭādvaita philosophy (11th century), nor does it adhere to orthodox Gaudiya Vaishnavism created in the 16th century Bengal. Other scholars, such as Prabhat Mukerjee, have denied these claims supporting the different varieties of Vaishnava philosophy. Scholars debate the influence of the Panchasakha from the original Vaishnava Agama (Pancharatras) while others source their ideas in Sahajayana Buddhism, and the Natha sampradaya. Both the Sahajayana Buddhists and the Panchasakha worshipped the image of Jagannatha as the Buddha, though the Panchasakhas saw Jagannatha as an incarnation of Vishnu as seen in the Dasāvatara image on the main mantel of the Jagannatha Temple. Utkaliya Vaishnavism (sometimes called Odia Vaishnavism in modern literature) developed into its present state, in the 15th century. According to the Panchasakhas, Lord Jagannath is the \"Purna-Brahma\", and all the avatars of Vishnu emanate from Him, and also enter into Him at the end. Jagannatha was the chief god of the devotional sect. The chief ideal of the Panchasakhas was that as a bhakta they would be faithful, humble, learned, selfless, active, benevolent and affectionate. The Panchasakhas were against the caste system; they considered all beings as one. They translated the Sanskrit Classics into local language, Odia. Anyone could become a Vaishnava, even Muslims. At the time of Shri Chaitanya, his followers who came from Nadia, called later as Gaudiya, considered themselves greater or superior to the Utkaliya Vaishnavas and disregarded them. So there was a cold war between them. Because of the animosity between the sects, Shri Chaitanya conferred the title of 'Atibadi' (the greatest one) on Jagannatha Dasa. The conflict of these two groups is evident in the Barana Charita Gita of Achyutananda and Jagannatha Charitamruta of Dibakara Dasa, and even in modern-day derogatory language of the Gaudiya Vaishnavas towards the Utkaliya Vaishnavas. nāhi tāhāra rūpa varṇa, adṛsha avarṇa tā cinha.\r tāhāku brahmā boli kahi, śūnya brahmhati se bolāi. It has no shape, no colour, \r It is invisible and without a name\r This Brahman is called Sunya Brahman. Achyutananda (and the other four saints) believed in a concept of God (Vishnu) as Sunya (emptiness, void, zero) called Sunya Purusa and/or Sunya Brahman. This sunya signifies a transcendental principle that eludes the conceptual nexus applied to human thinking as described in the Upanishads. Achyutananda's culminating work is called the Sunya Samhita where he discusses this philosophy in depth. śūnyara ākāra viira śūnyara vicāra, śūnye thāi dekha vīra e sacarācara.\r dekha e sacarācara śūnyare prakāsha, śūnyu ude hoicanti śūnyare vilāse. Oh vira look at the sunya\r By placing yourself in sunya, \r And meditate on mahasunya,\r Sunya itself is the form,\r Ground of all discriminating knowledge.\r Look at the whole world from the pedestal of sunya;\r You will find everything manifested in the sunya,\r Everything arises out of sunya and\r Everything flourishes in the Sunya Brahman. The philosophy sees Sunya as being full or whole (purna), and this view of Brahman is sometimes called the Purna Sunya (the full/complete void). The Panchasakhas project the deity Jagannatha as the embodiment of the Sunya Purusa. Achyutananda uses a classical (pre-Ramanuja) concept of Vaishnavism that uses both form, and formless aspects of god. This is seen in his statement from the Gurubhakti Gita : dui je deṇāre pakṣī uḍikari jāi, dui je cakṣure sehi saṃsāre khelai.\r eka je na thile kaṇā dui gale anḍha, eṇukari nirguṇa saguṇa sehi bheda. A bird can only fly with both wings. It can have a perfect vision with both the eyes. In the absence of one, it becomes one-eyed, and in the absence of both, it is totally blind. Thus like two eyes Nirguna [god perceived as formless]and Saguna [god perceived with form] are chained together. The Panchasakhas were Vaishnavas by thought. But they differed from Chaitanya's path of devotion and preached Jnana-mishra bhakti or Devotion with mix of Wisdom. Chaitanya's path of devotion was known as Raganuga Bhakti Marga (brought to Odisha in 1509), which says all one needs is love (devotion) to reach God. The Panchasakhas believed that one needs a combination of love (bhakti) and wisdom (Jnana) to reach God. With one's knowledge, if one shows one's pure love (bhakti), one can definitely reach the Sunyatma. The Panchasakhas therefore promoted a Vaishnavism that involved study of scriptures, yoga, rituals, and devotion. The concept of the Piṇḍa-Brahmāṇḍa is that the body (Piṇḍa) is a replica of the Universe (Brahmāṇḍa), or microcosm is a reflection of the macrocosm. Many of the yogic teachings of Achyutananda are based on this core concept. His teachings are filled with references to outer locations existing as energies in the body. The concept of the Sabda Brahman is that God created the universe as sound, and that all things have sound vibration as their essence. The writings of Achyutananda are filled with mantras and esoteric concepts about sounds and their effects on consciousness. For example, in Achyutananda's Rama Rasa Boli, the demon Ravanna is said to have meditated on the sound \"Sleem\" while focusing on the ten other sacred sounds (yoga-dasakhyara) to please Goddess Sita. Even more esoteric is this verse from the Sunya Rahasa where one can see the interwoven nature of internal yogic theory and sound found in Achyutananda's writings: Oh Jnanins: utter the name of Hari [God]\r May be you are the eldest or the youngest.\r Piercing six chakras blooms the lotus\r Near the ethereal void of air\r Between the Sutala and Rasatala\r The bee abides at the zenith of the void\r One is not a servant of the Lord just because they have a rosary\r Unless he utters the name of Krisna in his inner heart;\r The Name is the seed, rosary its robe\r Rosary is of no use if God's name is mindlessly uttered\r The three cords are the three triadic streams\r Make your oblations there\r Ayudhya, Dwarika, and the city of Gopa\r This knowledge is memorised by every soul.","slug":"achyutananda-dasa","DOB":null,"DateOfDemise":null,"location":"","url":"/sootradhar/achyutananda-dasa","tags":null,"created":"2023-12-27T18:58:15.717620","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27643,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/kavishala_logo.png","name":"Brajanath Badajena","bio":"
Brajanath Badajena (Odia: ବ୍ରଜନାଥ ବଡ଼ଜେନା, romanized: Brajanātha Baḍajenā; 1729–1799) was an Odia poet best known for his historical ballad Samara Taranga. He was born in Dhenkanal. Brajanath was patronized by several local rulers. His work was Samara Taranga appreciated the king of Dhenkanal for which he was given the title of Badajena.
Brajanath Badajena was born Brajanath Patnaik to Balukeswar Patnaik. His family were descendants of 16th century poet Raghu Arakhita. He had three siblings who were serving the king of Dhenkanal. He was well versed in many languages such as Sanskrit, Prakrit, Hindi, Bengali and Telugu.
His major works were before introduction of printing press in Odisha. So all of his works are found in the form of Palm leaf manuscript. He has experimented with different forms of and styles of writing. He wrote Chatura Binoda (English translation \"Four Tales of amusement\"\r\n) around 1770. This is regarded as one of the earliest Odia Fictional prose. The main story of this work is the romance between a prince and a rich merchant's daughter. There are several stories that follow when these 2 characters meet which in turn have more subplots. This form of fiction writing was not new but the usage of language makes it a nearly modern work.
His magnum opus is Samara Taranga (English translation \"Wave of war\"), ballad written on Maratha -Dhenkanal war of 1781. He was an eyewitness to the battles and the poem is a testimony to the events. It has been historically accurate as the events and places mentioned have been corroborated by other sources. The king of Dhenkanal was pleased with his work and granted him a village named Nuagaon near the river Brahmani.
His known works are listed below
While a gifted poet/author he has had a difficult life. He was patronized by many kings such as Dhenkanal, Keonjhar. He however moved around from place to place to earn a livelihood. He spent later part of his life at Puri during the reign of Gajapati DibyaSimha Deva II .","raw_bio":"Brajanath Badajena (Odia: ବ୍ରଜନାଥ ବଡ଼ଜେନା, romanized: Brajanātha Baḍajenā; 1729–1799) was an Odia poet best known for his historical ballad Samara Taranga. He was born in Dhenkanal. Brajanath was patronized by several local rulers. His work was Samara Taranga appreciated the king of Dhenkanal for which he was given the title of Badajena. Brajanath Badajena was born Brajanath Patnaik to Balukeswar Patnaik. His family were descendants of 16th century poet Raghu Arakhita. He had three siblings who were serving the king of Dhenkanal. He was well versed in many languages such as Sanskrit, Prakrit, Hindi, Bengali and Telugu. His major works were before introduction of printing press in Odisha. So all of his works are found in the form of Palm leaf manuscript. He has experimented with different forms of and styles of writing. He wrote Chatura Binoda (English translation \"Four Tales of amusement\"\r ) around 1770. This is regarded as one of the earliest Odia Fictional prose. The main story of this work is the romance between a prince and a rich merchant's daughter. There are several stories that follow when these 2 characters meet which in turn have more subplots. This form of fiction writing was not new but the usage of language makes it a nearly modern work. His magnum opus is Samara Taranga (English translation \"Wave of war\"), ballad written on Maratha -Dhenkanal war of 1781. He was an eyewitness to the battles and the poem is a testimony to the events. It has been historically accurate as the events and places mentioned have been corroborated by other sources. The king of Dhenkanal was pleased with his work and granted him a village named Nuagaon near the river Brahmani. His known works are listed below While a gifted poet/author he has had a difficult life. He was patronized by many kings such as Dhenkanal, Keonjhar. He however moved around from place to place to earn a livelihood. He spent later part of his life at Puri during the reign of Gajapati DibyaSimha Deva II .","slug":"brajanath-badajena","DOB":null,"DateOfDemise":null,"location":"","url":"/sootradhar/brajanath-badajena","tags":null,"created":"2023-12-27T18:58:18.742479","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27644,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/Bhubaneswar_Behera.jpg","name":"Bhubaneswar Behera","bio":"
Bhubaneswar Behera (January 1, 1916 – 2001) was an engineer, writer and scholar from the Kalahandi district of Odisha.
Behera was born in a Brahmin family in the village of Kashibahal, a former state of Kalahandi. He was educated at Bhawanipatna and graduated in 1935. In 1939 he obtained a degree in physics from Ravenshaw College in Cuttack then went on to graduate with a degree in civil engineering from the Bihar College of Engineering in Patna in 1943. He served an apprenticeship with the Department of Works and Irrigation in the former state of Mysore, Government of Orissa, and in February 1945 was appointed as an assistant engineer in the Jog Hydro power project, where his special assignment concerned irrigation under the Kalindi, Darbar.[]\r\nBhubaneswar Behera was married to Uma Devi. He has a daughter, Professor Yashodhara Mishra, and three sons: one is a medical doctor, another a police officer Binay Behera, and the third a railway officer.[]
Behera came across the perennial Indravati flowing across the Thuamul Rampur Plateau of Kalahandi, a tributary of the Godavari, running parallel to the Eastern Ghats. He visualized the diversion of the river Indravati to the Hati River to create an artificial waterfall from a height of 2,000 feet. This artificial waterfall would generate hydroelectric power that would ensure the perennial supply of water for irrigation. He prepared a preliminary scheme for the same and submitted it to the Maharaja for consideration. The Maharaja was thrilled with his work.[]
Behera was selected by the Government of India as a \"Post-war reconstruction scholar\" to pursue higher education abroad. He studied hydraulics and fluid mechanics at the State University of Iowa and wrote his master's thesis on \"A Length Criterion of Hydraulic Jump\" under the guidance of Professor Poesy. He was trained in model studies and dam construction in Denver, Colo., and project planning under the Tennessee Valley Authority.
He joined the Kalahandi State Government as an irrigation engineer in 1947. The princely state of Kalahandi was incorporated into the state of Odisha in 1948. \"Professor\" Behera was deputed to work on the Hirakud Dam project, where he worked as the assistant engineer and executive engineer until 1956. Over this period, Behera produced two valuable research papers: \"A Mathematical Formula for Design of Earth Slopes\" and \"Mathematical Formula for Non-Silting and Non-Eroding Velocities in Erodible Channels\" for the journal of The Institution of Engineers (India). Both papers were highly appraised.
Behera joined the University College of Engineering, Burla, as a professor of civil engineering in 1958. He eventually became the principal of the college in 1961. He later joined the Regional Engineering College in Rourkela in February 1962 as its first principal, and remained thus till 1971. He was appointed the vice-chancellor of Sambalpur University in 1971 and held this position till 1976. In 1977, the Government of India dispatched him to the Democratic Republic of Liberia in West Africa as an adviser for technical education.
He held many other roles in the Government of Odisha. He was appointed as a member of the Das Committee by the Government of Odisha to recommend the establishment of colleges in the state. Behera also worked as a member of the Orissa State Planning Board and the Union Public Service Commission until 1981. He officially retired from his work on January 1, 1981, and returned to his native village, Mundraguda, in the Dharmagarh subdivision of Kalahandi District, Orissa.
Before Behera became a member of the engineering faculty, he started a monthly Odia magazine called Saptarshi. He wanted to encourage students to read and write in Odia and he wrote editorials for the magazine himself, soon becoming a popular Odia prose writer. His Odia travelogue Paschima Africa re Odis Dhennki is a textbook in many universities of his native state. He has written eight books in Odia; his book of essays, Suna Parikshya, earned him the Odisha Sahitya Academy Award, while his novel Ga on-Ra-Dhaka won him the prestigious Sara la Award. He was also honored with the Nandihosh Award, the Utkal Ratna by Odisha Sahitya Samaj, the Visvesvaraya Award, the Sara la Samman and the title of \"Sahitya Sudhakar.\" He was also conferred a doctorate of science (Honor is Causal) from Sambalpur University and Utkal University. Behera's paper titled \"Optimum Height of Multipurpose Reservoirs,\" co-authored with P.K. Mohapatra, and his paper “Flexible Foundation,\" co-authored with A.P. Mishra, earned the Ministry of Irrigation Gold Medal and The Institution of Engineers (India) Gold Medal, respectively. The Institution of Engineers (India) Odisha State Center honored him with the title of \"Senior Engineer\" of the state on the occasion of the 50th anniversary celebrations of Indian independence in 1998.
These are the list of all the award:-
Professor Bhubaneswar Behera Central Library, the library of Sambalpur University, is named in his honor.","raw_bio":"Bhubaneswar Behera (January 1, 1916 – 2001) was an engineer, writer and scholar from the Kalahandi district of Odisha. Behera was born in a Brahmin family in the village of Kashibahal, a former state of Kalahandi. He was educated at Bhawanipatna and graduated in 1935. In 1939 he obtained a degree in physics from Ravenshaw College in Cuttack then went on to graduate with a degree in civil engineering from the Bihar College of Engineering in Patna in 1943. He served an apprenticeship with the Department of Works and Irrigation in the former state of Mysore, Government of Orissa, and in February 1945 was appointed as an assistant engineer in the Jog Hydro power project, where his special assignment concerned irrigation under the Kalindi, Darbar.[]\r Bhubaneswar Behera was married to Uma Devi. He has a daughter, Professor Yashodhara Mishra, and three sons: one is a medical doctor, another a police officer Binay Behera, and the third a railway officer.[] Behera came across the perennial Indravati flowing across the Thuamul Rampur Plateau of Kalahandi, a tributary of the Godavari, running parallel to the Eastern Ghats. He visualized the diversion of the river Indravati to the Hati River to create an artificial waterfall from a height of 2,000 feet. This artificial waterfall would generate hydroelectric power that would ensure the perennial supply of water for irrigation. He prepared a preliminary scheme for the same and submitted it to the Maharaja for consideration. The Maharaja was thrilled with his work.[] Behera was selected by the Government of India as a \"Post-war reconstruction scholar\" to pursue higher education abroad. He studied hydraulics and fluid mechanics at the State University of Iowa and wrote his master's thesis on \"A Length Criterion of Hydraulic Jump\" under the guidance of Professor Poesy. He was trained in model studies and dam construction in Denver, Colo., and project planning under the Tennessee Valley Authority. He joined the Kalahandi State Government as an irrigation engineer in 1947. The princely state of Kalahandi was incorporated into the state of Odisha in 1948. \"Professor\" Behera was deputed to work on the Hirakud Dam project, where he worked as the assistant engineer and executive engineer until 1956. Over this period, Behera produced two valuable research papers: \"A Mathematical Formula for Design of Earth Slopes\" and \"Mathematical Formula for Non-Silting and Non-Eroding Velocities in Erodible Channels\" for the journal of The Institution of Engineers (India). Both papers were highly appraised. Behera joined the University College of Engineering, Burla, as a professor of civil engineering in 1958. He eventually became the principal of the college in 1961. He later joined the Regional Engineering College in Rourkela in February 1962 as its first principal, and remained thus till 1971. He was appointed the vice-chancellor of Sambalpur University in 1971 and held this position till 1976. In 1977, the Government of India dispatched him to the Democratic Republic of Liberia in West Africa as an adviser for technical education. He held many other roles in the Government of Odisha. He was appointed as a member of the Das Committee by the Government of Odisha to recommend the establishment of colleges in the state. Behera also worked as a member of the Orissa State Planning Board and the Union Public Service Commission until 1981. He officially retired from his work on January 1, 1981, and returned to his native village, Mundraguda, in the Dharmagarh subdivision of Kalahandi District, Orissa. Before Behera became a member of the engineering faculty, he started a monthly Odia magazine called Saptarshi. He wanted to encourage students to read and write in Odia and he wrote editorials for the magazine himself, soon becoming a popular Odia prose writer. His Odia travelogue Paschima Africa re Odis Dhennki is a textbook in many universities of his native state. He has written eight books in Odia; his book of essays, Suna Parikshya, earned him the Odisha Sahitya Academy Award, while his novel Ga on-Ra-Dhaka won him the prestigious Sara la Award. He was also honored with the Nandihosh Award, the Utkal Ratna by Odisha Sahitya Samaj, the Visvesvaraya Award, the Sara la Samman and the title of \"Sahitya Sudhakar.\" He was also conferred a doctorate of science (Honor is Causal) from Sambalpur University and Utkal University. Behera's paper titled \"Optimum Height of Multipurpose Reservoirs,\" co-authored with P.K. Mohapatra, and his paper “Flexible Foundation,\" co-authored with A.P. Mishra, earned the Ministry of Irrigation Gold Medal and The Institution of Engineers (India) Gold Medal, respectively. The Institution of Engineers (India) Odisha State Center honored him with the title of \"Senior Engineer\" of the state on the occasion of the 50th anniversary celebrations of Indian independence in 1998. These are the list of all the award:- Professor Bhubaneswar Behera Central Library, the library of Sambalpur University, is named in his honor.","slug":"bhubaneswar-behera","DOB":null,"DateOfDemise":null,"location":"","url":"/sootradhar/bhubaneswar-behera","tags":null,"created":"2023-12-27T18:58:24.995812","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27645,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/Bhagabati_Charan_Panigrahi.jpg","name":"Bhagabati Charan Panigrahi","bio":"Bhagabati Charan Panigrahi (1 February 1908 – 23 October 1943) was an Indian Odia writer and India’s freedom struggle revolutionary/ martyr . He was a founding member of Netaji's Forward Bloc. He was the founding secretary of Communist Party of India in Odisha. He wrote around a dozen short stories before he was mysteriously murdered while under arrest of British India Police in 1943. He was a close associate of Netaji Subhas Chandra Bose.
Bhagabati Charan Panigrahi, in his short literary career, wrote around 12 short stories. One of his notable short stories was Shikaar. The story captured the life of the tribal communities of Odisha, and the exploitation by British to control and suppress their revolt. The story was made into a film Mrigayaa (1976) by Mrinal Sen. In 2016, an Odia language play was also written and staged based on the same story.
In November 1935, in collaboration with Ananta Patnaik and others, he formed a literary organisation \"Nabayuga Sahitya Sansad\" (transl. New Age Literary Society). Very soon it became famous and played significant role to foster new ideas in modern Odia literature. In 1936, he edited a magazine called Adhunika.
The 12 stories written by Bhagabati Charan Panigrahi are:
Bhagabati Charan, in his youth and in the beginning of his political career was inspired by Mahatma Gandhi's political ideology. Later he became associated with Congress Socialist Party. Panigrahi, along with Guru Charan Patnaik, and Comrade Prananath Patnaik formed the Communist Party of Odisha on 1 April 1936. Panigrahi was the first state secretary of the party. He later became a lead member of Netaji’s Forward Block. Panigrahi was associated with the Netaji’s ideology till his death.
On 23 October 1943, Panigrahi was found dead under mysterious circumstances. Back then he was undergoing detention by the British India Police. The death certificate reported he died because of unknown illness, however there were speculations that he was tortured to death because he had not divulged the plan of Netaji to announce Azad Hind Sarkar from Singapore on 21 Oct 1943.","raw_bio":"Bhagabati Charan Panigrahi (1 February 1908 – 23 October 1943) was an Indian Odia writer and India’s freedom struggle revolutionary/ martyr . He was a founding member of Netaji's Forward Bloc. He was the founding secretary of Communist Party of India in Odisha. He wrote around a dozen short stories before he was mysteriously murdered while under arrest of British India Police in 1943. He was a close associate of Netaji Subhas Chandra Bose. Bhagabati Charan Panigrahi, in his short literary career, wrote around 12 short stories. One of his notable short stories was Shikaar. The story captured the life of the tribal communities of Odisha, and the exploitation by British to control and suppress their revolt. The story was made into a film Mrigayaa (1976) by Mrinal Sen. In 2016, an Odia language play was also written and staged based on the same story. In November 1935, in collaboration with Ananta Patnaik and others, he formed a literary organisation \"Nabayuga Sahitya Sansad\" (transl. New Age Literary Society). Very soon it became famous and played significant role to foster new ideas in modern Odia literature. In 1936, he edited a magazine called Adhunika. The 12 stories written by Bhagabati Charan Panigrahi are: Bhagabati Charan, in his youth and in the beginning of his political career was inspired by Mahatma Gandhi's political ideology. Later he became associated with Congress Socialist Party. Panigrahi, along with Guru Charan Patnaik, and Comrade Prananath Patnaik formed the Communist Party of Odisha on 1 April 1936. Panigrahi was the first state secretary of the party. He later became a lead member of Netaji’s Forward Block. Panigrahi was associated with the Netaji’s ideology till his death. On 23 October 1943, Panigrahi was found dead under mysterious circumstances. Back then he was undergoing detention by the British India Police. The death certificate reported he died because of unknown illness, however there were speculations that he was tortured to death because he had not divulged the plan of Netaji to announce Azad Hind Sarkar from Singapore on 21 Oct 1943.","slug":"bhagabati-charan-panigrahi","DOB":null,"DateOfDemise":null,"location":"","url":"/sootradhar/bhagabati-charan-panigrahi","tags":null,"created":"2023-12-27T18:58:28.776748","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27646,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/Upendra_Bhanja.jpg","name":"Upendra Bhanja","bio":"
Kabi Samrata Upendra Bhanja (Odia: ଉପେନ୍ଦ୍ର ଭଞ୍ଜ, romanized: Upendra Bhañja, Odia: [upend̪ɾɔbʰɔɲd͡ʒɔ] ⓘ) was a 17th-century Odia poet-composer of classical Odissi music. He is most known for his Odissi songs and kabyas written in the Odia language, primarily Baidehisa Bilasa, Labanyabati & Koti Brahmanda Sundari.
He was born during 1670 (opinions differ between 1670 and 1688) in Kulagarh, Ghumusar zamindari, present day Kulada near Bhanjanagar, 80 kms from the Silk City Brahmapur, Odisha and died during 1740 (again opinions vary).
His first wife was the sister of the king of Nayagarh and the daughter of the king of Banapur was his second wife, who was an erudite princess and gave Upendra Bhanja poetical inspiration in an abundant measure. His grandfather King Dhananjaya Bhanja was a great poet and wrote Raghunatha Bilasa (The Ramayana), Ratna Manjari (a poetical romance) etc., which provided models to the prince for writing. But unlike his grandfather, he preferred his entire life to poetry rather than to ruling over a kingdom. He had a thorough training in Sanskrit classical literature and mastered Sanskrit dictionaries such as Amara Kosha, Trikanda Kosha and Medini Kosha. He even wrote a dictionary Geetabhidhana in Odia for helping poets. The town of Bhanjanagar is named after him. The music of Upendra Bhanja is central to Odissi music, the traditional classical music of the state of Odisha and Bhanja is widely respected as one of the greatest Odissi composers of all time.
Upendra Bhanja wrote some 52 books of which only 22 are available now. Due to the absence of a printing press, many of the hand-copied books have been lost. Some of his eminent kabyas are Baidehisha Bilasa (with \"Ba\" initial for each line), Rasalila, Brajaleela, Subhadra Parinaya(with \"Sa\" initial for every line), Labanyabati, Premasudhanidhi, Rasika Harabali, Subhadra Parinaya and Chitrakabya Bandodhya, Labanyabati, Koti Brahmanda Sundari, Kala Koutuka (with \"Ka\" initial for every line), Satisha Bilasa\" (with initial 'Sa' initial every line), \"Damayanti Bilasa\" (with 'Da' initial each line) and \"Padmabati Parinaya\" (starts with 'Pa') etc.
The first published work of Upendra Bhanja is \"Rasapanchaka\". The first dictionary \"Gita Abidhan\" was written by Upendra Bhanja in Odia literature. 'Kabi Samrata' was not the first title of Upendra Bhanja. He was rather entitled as \"Birabara\" as written by Bhanja himself in his kabyas.
ବୀରବର ପଦ ଉପଇନ୍ଦ୍ର ମୋର ନାମ ।\r\nବାରେ ବାରେ ସେବାରେ ମନାଇଁ ସୀତାରାମ ।
Birabara is the epithet, my name is Upendra\r\nBy serving Sita and Rama have I received their grace.
The epithet Kabi Samrata is found only in the early part of 19th century in a book written by Mahendra Patnaik. Upendra Bhanja contributed 32,300 words to Odia language and literature.The obscurity of this incomparable poet of Odia literature, may be attributed to the lack of proper research. Plot and character in Bhanja literature plays negligible role but imaginary ornamental expression by way of literary techniques of the classical Indian literature dominates with magnetic, lovable, intellectual manner.
So, study of Upendra Bhanja requires high academic pursuits as well as sensible appreciation of art and literary value of the reader along with wide study range in the field of classical Indian literature and appreciable order of morality and spiritual thought.[] So for Upendra Bhanja, plot and character are not important but momentous feeling influences the character as well as the plot in the structural poetic forms and techniques with explosive reason and emotion in a way of synthetic, stylistic approach in almost all aspects of his expression through Odia language, literature, culture, socio-cultural behaviour, with high moral order and thoughts of superior human being.
On the other hand, his writings are being popularised by the commoners because of sensible, emotional touch with sympathetic unusual feelings of the human kind in the context of aesthetic sense and sensibility along with love and lovability of the mankind as experienced through the ages of time together.Strangely, without any deep appreciation of human value and literary appreciation with standard principles of study literature as prescribed in the research methodology and literary criticism with reference to classical Indian poetics, the poet Upendra Bhanja is being misunderstood by some pseudo critics/scholars and writers[] with biased opinions and unscrupulous baseless manners.
The first Ph.D thesis on Bhanja was submitted by Dr. Satyanarayan Acharya, the First Researcher on Upendra Bhanja, in the year 1978 under UGC sponsorship. Consequently, in the year 1988 Dr. Abhimanyu Baral submitted the thesis \"Odia reetikabya paramparare Baidehisha Bilasa\" to Utkal University, Bhubaneswar.
The works of Upendra Bhanja are based on Odissi classical music. He uses ragas and talas unique to the Odissi tradition and has thereby enriched the repertoire. His compositions are well-known across the state of Odisha and are frequently employed in Odissi dance as well as Gotipua, Sakhi Nata, Prahallada Nataka, Radha Prema Lila and other allied artforms. Some of the ragas frequently used by Bhanja are : Bangalasri, Baradi, Basanta, Basanta Baradi, Bibhasa Gujjari, Chinta Bhairaba, Ghantaraba, Kalahansa Kedara, Kali, Kamodi, Khanda Kamodi, Kousika, Kumbha Kamodi, Malaba, Mangala Baradi, Mangala Gujjari, Natanarayana, Nalinigouda, Pahadia Kedara, Panchama Baradi, Pattaha Manjari (Pattamanjari), Rajabije (Ranabije), Ramakeri, Sankarabharana, Soka Kamodi among others. Bhanja belonged to a family that was rooted in literature and music of the times, and his grandfather Dhananjaya Bhanja was an eminent composer of Odissi songs and the writer of a Ramayana kabya.
Upendra Bhanja wrote in the last decade of seventeenth and the early decades of eighteenth century and championed a style of poetry called 'Reeti' and 'Deena' in Sanskrit poetics. Though many poets in the seventeenth and eighteenth centaurs write in reeti style, Upendra Bhanja is decided by the greatest of them all. Whether it is shringara, viraha, bhakti or karuna rasa, Upendra Bhanja is the poet of unsurpassed rhetorical excellence. We may venture to say that, apart from Sanskrit, no other language has a poet to compare with him. Upendra Bhanja had practiced his great poetic talents in using \"upama\",\"alankara\", \"rasas\"in all his kabyas.
The greatness of Upendra Bhanja was in his \"Alankara\" use such as: Anuprasa, Jamak, etc. The style of presenting facts with comparable factors (upama) is very distinguishable in his
“Baidehisha Bilasa” is the pioneer work of Upendra Bhanja as declared by the poet.\"Rasika Harabali\" was written on the basis of his own experience at the early part of his young life.His contemporary poet of Bhakta Kabi, Dina Krushna Das as described in his work “Kala Koutuka”. The socio-cultural way of contemporary Odias are vividly described in his literature .Upendra Bhanja is not only eminent poet of Odisha but also his writings will be explained through all classical contemporary music systems of India
Upendra Bhanja had a poetic excellence and he has written all his Kabyas as the rules of Alankarshastra of that time, but his kabyas have made some critiques irritated for the sexuality he used in his imagery descriptions. During the beginning of modern period or age of Radhanath, Upendra Bhanja was criticised by some modernist for the obscenity in his kabyas. There was a war of words between two literary periodicals The Indradhanu and The Bijuli. The two periodicals kept their support in favour of two poets Kabisamrat Upendra Bhanja and Radhanath Ray. It was also a war between conservatives and modernist in Odia Literature.
Upendra Bhanja was also criticised for his obscure words. Once a modern poet Guru Prasad (See Odia literature) wrote \"Upendra Bhanja means a woman and a Dictionary\". Though he was criticised by the modernists, he can be comparable with Kalidas in using simile (Upama) in his kabyas. But above all, the role of Upendra Bhanja can not be denied during the Riti Yuga period of Odia literature.","raw_bio":"Kabi Samrata Upendra Bhanja (Odia: ଉପେନ୍ଦ୍ର ଭଞ୍ଜ, romanized: Upendra Bhañja, Odia: [upend̪ɾɔbʰɔɲd͡ʒɔ] ⓘ) was a 17th-century Odia poet-composer of classical Odissi music. He is most known for his Odissi songs and kabyas written in the Odia language, primarily Baidehisa Bilasa, Labanyabati & Koti Brahmanda Sundari. He was born during 1670 (opinions differ between 1670 and 1688) in Kulagarh, Ghumusar zamindari, present day Kulada near Bhanjanagar, 80 kms from the Silk City Brahmapur, Odisha and died during 1740 (again opinions vary). His first wife was the sister of the king of Nayagarh and the daughter of the king of Banapur was his second wife, who was an erudite princess and gave Upendra Bhanja poetical inspiration in an abundant measure. His grandfather King Dhananjaya Bhanja was a great poet and wrote Raghunatha Bilasa (The Ramayana), Ratna Manjari (a poetical romance) etc., which provided models to the prince for writing. But unlike his grandfather, he preferred his entire life to poetry rather than to ruling over a kingdom. He had a thorough training in Sanskrit classical literature and mastered Sanskrit dictionaries such as Amara Kosha, Trikanda Kosha and Medini Kosha. He even wrote a dictionary Geetabhidhana in Odia for helping poets. The town of Bhanjanagar is named after him. The music of Upendra Bhanja is central to Odissi music, the traditional classical music of the state of Odisha and Bhanja is widely respected as one of the greatest Odissi composers of all time. Upendra Bhanja wrote some 52 books of which only 22 are available now. Due to the absence of a printing press, many of the hand-copied books have been lost. Some of his eminent kabyas are Baidehisha Bilasa (with \"Ba\" initial for each line), Rasalila, Brajaleela, Subhadra Parinaya(with \"Sa\" initial for every line), Labanyabati, Premasudhanidhi, Rasika Harabali, Subhadra Parinaya and Chitrakabya Bandodhya, Labanyabati, Koti Brahmanda Sundari, Kala Koutuka (with \"Ka\" initial for every line), Satisha Bilasa\" (with initial 'Sa' initial every line), \"Damayanti Bilasa\" (with 'Da' initial each line) and \"Padmabati Parinaya\" (starts with 'Pa') etc. The first published work of Upendra Bhanja is \"Rasapanchaka\". The first dictionary \"Gita Abidhan\" was written by Upendra Bhanja in Odia literature. 'Kabi Samrata' was not the first title of Upendra Bhanja. He was rather entitled as \"Birabara\" as written by Bhanja himself in his kabyas. ବୀରବର ପଦ ଉପଇନ୍ଦ୍ର ମୋର ନାମ ।\r ବାରେ ବାରେ ସେବାରେ ମନାଇଁ ସୀତାରାମ । Birabara is the epithet, my name is Upendra\r By serving Sita and Rama have I received their grace. The epithet Kabi Samrata is found only in the early part of 19th century in a book written by Mahendra Patnaik. Upendra Bhanja contributed 32,300 words to Odia language and literature.The obscurity of this incomparable poet of Odia literature, may be attributed to the lack of proper research. Plot and character in Bhanja literature plays negligible role but imaginary ornamental expression by way of literary techniques of the classical Indian literature dominates with magnetic, lovable, intellectual manner. So, study of Upendra Bhanja requires high academic pursuits as well as sensible appreciation of art and literary value of the reader along with wide study range in the field of classical Indian literature and appreciable order of morality and spiritual thought.[] So for Upendra Bhanja, plot and character are not important but momentous feeling influences the character as well as the plot in the structural poetic forms and techniques with explosive reason and emotion in a way of synthetic, stylistic approach in almost all aspects of his expression through Odia language, literature, culture, socio-cultural behaviour, with high moral order and thoughts of superior human being. On the other hand, his writings are being popularised by the commoners because of sensible, emotional touch with sympathetic unusual feelings of the human kind in the context of aesthetic sense and sensibility along with love and lovability of the mankind as experienced through the ages of time together.Strangely, without any deep appreciation of human value and literary appreciation with standard principles of study literature as prescribed in the research methodology and literary criticism with reference to classical Indian poetics, the poet Upendra Bhanja is being misunderstood by some pseudo critics/scholars and writers[] with biased opinions and unscrupulous baseless manners. The first Ph.D thesis on Bhanja was submitted by Dr. Satyanarayan Acharya, the First Researcher on Upendra Bhanja, in the year 1978 under UGC sponsorship. Consequently, in the year 1988 Dr. Abhimanyu Baral submitted the thesis \"Odia reetikabya paramparare Baidehisha Bilasa\" to Utkal University, Bhubaneswar. The works of Upendra Bhanja are based on Odissi classical music. He uses ragas and talas unique to the Odissi tradition and has thereby enriched the repertoire. His compositions are well-known across the state of Odisha and are frequently employed in Odissi dance as well as Gotipua, Sakhi Nata, Prahallada Nataka, Radha Prema Lila and other allied artforms. Some of the ragas frequently used by Bhanja are : Bangalasri, Baradi, Basanta, Basanta Baradi, Bibhasa Gujjari, Chinta Bhairaba, Ghantaraba, Kalahansa Kedara, Kali, Kamodi, Khanda Kamodi, Kousika, Kumbha Kamodi, Malaba, Mangala Baradi, Mangala Gujjari, Natanarayana, Nalinigouda, Pahadia Kedara, Panchama Baradi, Pattaha Manjari (Pattamanjari), Rajabije (Ranabije), Ramakeri, Sankarabharana, Soka Kamodi among others. Bhanja belonged to a family that was rooted in literature and music of the times, and his grandfather Dhananjaya Bhanja was an eminent composer of Odissi songs and the writer of a Ramayana kabya. Upendra Bhanja wrote in the last decade of seventeenth and the early decades of eighteenth century and championed a style of poetry called 'Reeti' and 'Deena' in Sanskrit poetics. Though many poets in the seventeenth and eighteenth centaurs write in reeti style, Upendra Bhanja is decided by the greatest of them all. Whether it is shringara, viraha, bhakti or karuna rasa, Upendra Bhanja is the poet of unsurpassed rhetorical excellence. We may venture to say that, apart from Sanskrit, no other language has a poet to compare with him. Upendra Bhanja had practiced his great poetic talents in using \"upama\",\"alankara\", \"rasas\"in all his kabyas. The greatness of Upendra Bhanja was in his \"Alankara\" use such as: Anuprasa, Jamak, etc. The style of presenting facts with comparable factors (upama) is very distinguishable in his “Baidehisha Bilasa” is the pioneer work of Upendra Bhanja as declared by the poet.\"Rasika Harabali\" was written on the basis of his own experience at the early part of his young life.His contemporary poet of Bhakta Kabi, Dina Krushna Das as described in his work “Kala Koutuka”. The socio-cultural way of contemporary Odias are vividly described in his literature .Upendra Bhanja is not only eminent poet of Odisha but also his writings will be explained through all classical contemporary music systems of India Upendra Bhanja had a poetic excellence and he has written all his Kabyas as the rules of Alankarshastra of that time, but his kabyas have made some critiques irritated for the sexuality he used in his imagery descriptions. During the beginning of modern period or age of Radhanath, Upendra Bhanja was criticised by some modernist for the obscenity in his kabyas. There was a war of words between two literary periodicals The Indradhanu and The Bijuli. The two periodicals kept their support in favour of two poets Kabisamrat Upendra Bhanja and Radhanath Ray. It was also a war between conservatives and modernist in Odia Literature. Upendra Bhanja was also criticised for his obscure words. Once a modern poet Guru Prasad (See Odia literature) wrote \"Upendra Bhanja means a woman and a Dictionary\". Though he was criticised by the modernists, he can be comparable with Kalidas in using simile (Upama) in his kabyas. But above all, the role of Upendra Bhanja can not be denied during the Riti Yuga period of Odia literature.","slug":"upendra-bhanja","DOB":null,"DateOfDemise":null,"location":"","url":"/sootradhar/upendra-bhanja","tags":null,"created":"2023-12-27T18:58:32.112921","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27647,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/Bhima_Bhoi.jpg","name":"Bhima Bhoi","bio":"
Brahma Nirupana Gita\r\nSrutinisedha Gita
Bhima Bhoi (1850–1895) was a 19th-century saint, poet, mystic, and social reformer from the state of Odisha in India. He was a follower of Mahima Swami, and his teachings and poetry were deeply influenced by Mahima Dharma, a monotheistic religious movement in Odisha. Bhima Bhoi was a bhakta (Odia: devotee) of Mahima Gosain, the founder of Satya Mahima Dharma, an Indian religious tradition that challenged the authority of caste and other forms of discrimination. Bhima Bhoi is remembered for his mystical poetry, which was primarily in the Odia language, and his social reform efforts aimed at uplifting the marginalized sections of society.
Bhima Bhoi was born in Madhupur in Rairakhol in 1850, though various sources have cited different years as well as different places of birth. Bhima Bhoi's family belonged to the Kondh tribe. Bhoi's family was not well off and by most accounts, his early life was not happy. Despite losing eyesight in one eye to smallpox in his early childhood, Bhima Bhoi gained knowledge by listening to the recitation of religious texts from a nearby Bhagabata Tungi. Bhima Bhoi soon left his place of birth and reached the Rairakhol area and was employed as a servant by a farmer. He worked as a cattle caretaker and lived in a chawl near the farmer's cowshed as he was from an \"untouchable\" tribe.
At the age of twelve, Bhima Bhoi left his job and began his spiritual journey, performing penance at Kapilas, where his guru Mahima Swami had meditated and preached. Four Brahmin disciples inscribed the songs that he recited. After working in the Joronda region for some time, Bhima Bhoi established his ashram in Khaliapali near Sonepur. He attracted numerous disciples, married, and started a family. Bhima Bhoi died in Khaliapali in 1895.
Bhima Bhoi, like his guru Mahima Swami, primarily taught Ekaishwara Brahmavada or the belief in One God, who is indescribable (Aleka), formless (Arupa), shapeless (Nirakara), and pure (Niranjan). According to his teachings, this supreme being resides in the void (Sunya) and can be attained through the ideals of Mahima Swami. Bhima Bhoi's followers came from various backgrounds, including established families, marginalized castes, and women's groups. They lived and worked together, transcending their social identities. His teachings emphasized simple truths of life, such as not lying, stealing, engaging in adultery, or discriminating against others. As a social reformer, Bhima Bhoi was a strong subaltern voice in his time, and his teachings resonated with many people both in and outside of Odisha. Even today, his followers continue to practice Mahima Dharma with devotion and dedication.
Bhima Bhoi's language is characterized by its mysticism, musicality, and colloquial nature, which made it accessible to common folk. He departed from the use of Sanskritized Odia, adopting the vernacular language instead. His poetry exhibits influences from the Western Odisha dialect, known as Sambalpuri. As a result, his poems have a \"spoken sung\" quality, which is typical of bhakti poetry. Bhima Bhoi's verses are rhythmic, lyrical, and feature internal and end rhyming patterns that contribute to the beauty of his poems. Bhima Bhoi's poetry was initially composed orally, sometimes spontaneously, and was later written down by scribes. This characteristic is shared with other bhakti poets and highlights the oral tradition of the movement.
Bhima Bhoi was a popular poet, composer and singer. Humanity and liberation of the world based on the philosophy of Mahima Dharma were the central theme of his poetic creations. His assertion \"mo jeevana pachhe narke padithau, jagata uddhara heu\" (let my life rot in naraka if necessary, but let the world be redeemed) showcases his dedication to the upliftment of the societally deprived while being a clear reflection of socio-economic conditions in the State, during his lifetime. Bhima Bhoi composed more than one hundred collections of poems, though only about twelve are available today. Efforts are ongoing to collect more texts by the poet. His important works include Brahma Nirupana Gita, Stuti Chintamani, Astaka Bihari Gita, Chautisa Madhu Chakra, and Bhajanamala. Two collections, Atha Bhajan and Bangala Atha Bhajan, are written in the Bengali language.
Stuti Chintamani is considered the most important poetical work of Bhima Bhoi. It consists of 100 chapters, each containing 20 two-line stanzas, totaling 4,000 lines. The poem is a set of prayers to Brahma, with the poet asking for redemption from the suffering and injustices that humanity experiences in the Kaliyuga. Bhima Bhoi emphasizes the importance of devotion (bhakti) over knowledge (gyana) in achieving salvation.
O Lord from my childhood I have known the intensity of\r\nmy misery. Thinking of it in the lotus of my heart I have\r\nnot been blessed with happiness even for a moment. From\r\nmy birth I am hapless. My parents left me in this world\r\nalone. If I crave for a happy meal or pleasure wherefrom\r\ncan I ever get it ?\r\nIt is not tears but blood that used to trickle down\r\nas I have wiped them. None other than Sriguru knows\r\nwhat miseries I have gone through.\r\nWhen I completed the age of four, once in the\r\nmonth of jyestha a wandering yogi dressed in loin-cloth of\r\nochre colour came to the village. In both his hands I have\r\nclearly noticed the symbols of conch and the wheel.
While scholars have studied the life and poetry of Bhima Bhoi, research chairs have recently been established at Kalinga Institute of Social Sciences - Deemed to be University (in April 2018) and Gangadhar Meher University in 2019, to research the impact of Bhima Bhoi's life and philosophy in Odisha. In honour of Bhima Bhoi, Bolangir Medical College is named Bhima Bhoi Medical College.","raw_bio":"Brahma Nirupana Gita\r Srutinisedha Gita Bhima Bhoi (1850–1895) was a 19th-century saint, poet, mystic, and social reformer from the state of Odisha in India. He was a follower of Mahima Swami, and his teachings and poetry were deeply influenced by Mahima Dharma, a monotheistic religious movement in Odisha. Bhima Bhoi was a bhakta (Odia: devotee) of Mahima Gosain, the founder of Satya Mahima Dharma, an Indian religious tradition that challenged the authority of caste and other forms of discrimination. Bhima Bhoi is remembered for his mystical poetry, which was primarily in the Odia language, and his social reform efforts aimed at uplifting the marginalized sections of society. Bhima Bhoi was born in Madhupur in Rairakhol in 1850, though various sources have cited different years as well as different places of birth. Bhima Bhoi's family belonged to the Kondh tribe. Bhoi's family was not well off and by most accounts, his early life was not happy. Despite losing eyesight in one eye to smallpox in his early childhood, Bhima Bhoi gained knowledge by listening to the recitation of religious texts from a nearby Bhagabata Tungi. Bhima Bhoi soon left his place of birth and reached the Rairakhol area and was employed as a servant by a farmer. He worked as a cattle caretaker and lived in a chawl near the farmer's cowshed as he was from an \"untouchable\" tribe. At the age of twelve, Bhima Bhoi left his job and began his spiritual journey, performing penance at Kapilas, where his guru Mahima Swami had meditated and preached. Four Brahmin disciples inscribed the songs that he recited. After working in the Joronda region for some time, Bhima Bhoi established his ashram in Khaliapali near Sonepur. He attracted numerous disciples, married, and started a family. Bhima Bhoi died in Khaliapali in 1895. Bhima Bhoi, like his guru Mahima Swami, primarily taught Ekaishwara Brahmavada or the belief in One God, who is indescribable (Aleka), formless (Arupa), shapeless (Nirakara), and pure (Niranjan). According to his teachings, this supreme being resides in the void (Sunya) and can be attained through the ideals of Mahima Swami. Bhima Bhoi's followers came from various backgrounds, including established families, marginalized castes, and women's groups. They lived and worked together, transcending their social identities. His teachings emphasized simple truths of life, such as not lying, stealing, engaging in adultery, or discriminating against others. As a social reformer, Bhima Bhoi was a strong subaltern voice in his time, and his teachings resonated with many people both in and outside of Odisha. Even today, his followers continue to practice Mahima Dharma with devotion and dedication. Bhima Bhoi's language is characterized by its mysticism, musicality, and colloquial nature, which made it accessible to common folk. He departed from the use of Sanskritized Odia, adopting the vernacular language instead. His poetry exhibits influences from the Western Odisha dialect, known as Sambalpuri. As a result, his poems have a \"spoken sung\" quality, which is typical of bhakti poetry. Bhima Bhoi's verses are rhythmic, lyrical, and feature internal and end rhyming patterns that contribute to the beauty of his poems. Bhima Bhoi's poetry was initially composed orally, sometimes spontaneously, and was later written down by scribes. This characteristic is shared with other bhakti poets and highlights the oral tradition of the movement. Bhima Bhoi was a popular poet, composer and singer. Humanity and liberation of the world based on the philosophy of Mahima Dharma were the central theme of his poetic creations. His assertion \"mo jeevana pachhe narke padithau, jagata uddhara heu\" (let my life rot in naraka if necessary, but let the world be redeemed) showcases his dedication to the upliftment of the societally deprived while being a clear reflection of socio-economic conditions in the State, during his lifetime. Bhima Bhoi composed more than one hundred collections of poems, though only about twelve are available today. Efforts are ongoing to collect more texts by the poet. His important works include Brahma Nirupana Gita, Stuti Chintamani, Astaka Bihari Gita, Chautisa Madhu Chakra, and Bhajanamala. Two collections, Atha Bhajan and Bangala Atha Bhajan, are written in the Bengali language. Stuti Chintamani is considered the most important poetical work of Bhima Bhoi. It consists of 100 chapters, each containing 20 two-line stanzas, totaling 4,000 lines. The poem is a set of prayers to Brahma, with the poet asking for redemption from the suffering and injustices that humanity experiences in the Kaliyuga. Bhima Bhoi emphasizes the importance of devotion (bhakti) over knowledge (gyana) in achieving salvation. O Lord from my childhood I have known the intensity of\r my misery. Thinking of it in the lotus of my heart I have\r not been blessed with happiness even for a moment. From\r my birth I am hapless. My parents left me in this world\r alone. If I crave for a happy meal or pleasure wherefrom\r can I ever get it ?\r It is not tears but blood that used to trickle down\r as I have wiped them. None other than Sriguru knows\r what miseries I have gone through.\r When I completed the age of four, once in the\r month of jyestha a wandering yogi dressed in loin-cloth of\r ochre colour came to the village. In both his hands I have\r clearly noticed the symbols of conch and the wheel. While scholars have studied the life and poetry of Bhima Bhoi, research chairs have recently been established at Kalinga Institute of Social Sciences - Deemed to be University (in April 2018) and Gangadhar Meher University in 2019, to research the impact of Bhima Bhoi's life and philosophy in Odisha. In honour of Bhima Bhoi, Bolangir Medical College is named Bhima Bhoi Medical College.","slug":"bhima-bhoi","DOB":null,"DateOfDemise":null,"location":"","url":"/sootradhar/bhima-bhoi","tags":null,"created":"2023-12-27T18:58:35.490514","is_has_special_post":false,"is_special_author":false,"language":13},{"id":27648,"image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_author/kavishala_logo.png","name":"Rajendra Prasad Das","bio":"
Professor Rajendra Prasad Das (1930–2006) was an Indian archaeologist, an authority on the construction history of Hindu temples, a noted historian, a respected academician and an award-winning novelist.
Professor Rajendra Prasad Das is credited with discovery of a chalcolithic site in the Prehistoric Ganges Basin of India, an important archaeological find. During his tenure with the Archaeological Survey of India (ASI) Rajendra identified a 230 X 135 m site at Mahisdal located on the left bank of the Kopai River in Birbhum District of West Bengal for archaeological excavation.
Das led the ASI excavations in 1963-64 of the site which unearthed significant archaeological remains that date back to 1619-1415 BC. The findings include a rich assortment of red and black plain and painted ceramics, copper, beads of steatite and semi-precious stones, bone tools, bone bangles and decorated combs that establish Mahisdal a chalcolithic site of considerable importance in the Prehistoric Ganges Basin of India. Substantial quantities of burnt (carbonized) grains of rice found at the site suggest a massive fire that destroyed the settlement.
Das pioneered the technique of deciphering and transcribing the texts written in Karani script etched on palm leaves, which constituted palm-leaf-manuscripts of historical events as well as of scholarly texts.[] In collaboration with Alice Boner, and Sadasiva Rath Sarma, Das translated and annotated four unpublished texts from a number of palm-leaf-manuscripts relating to the construction history and ritual of the famous Sun Temple of Konarka built in the thirteenth century.[]
This pioneering project led to the publication of New Light on the Sun Temple of Konarka in 1972. This book systematically describes the architecture of the Sun Temple of Konarka and the surrounding shrines, rituals of worship and yantras, detailed history of construction, chronicles and accounts of building operations, and the religious rituals of the temple.[]
Das collaborated with Bettina Bäumer to transcribe the seventeenth century Orissan text, the Silparatnakosa, which is a glossary of Orissan temple architecture, and describes all the parts of all the most important temple types of Orissa such as the Manjushri and Khaakaara, and also contains a section on sculpture. This text was edited from three palm-leaf-manuscripts, and is an important work of the Silpa/Vastu literature of India.[]
He also collaborated with Baumer and Sadananda Das to completely revise and translate Silpa Prakasa, based on palm-leaf-manuscripts transcribed earlier by Boner, and Sarma. Silpa Prakasa is a tenth-century text on temple architecture that describes various temple types, temple construction, and the iconography and symbolism of the unique Orissan temples.
Das was first in BA Honours in History, and first class first and gold medallist in MA in History from Utkal University. He was the President and General Secretary of Ravenshaw College Union.[] As a keen debater, Das had won many laurels including the Borasambar Senapati Prize in 1950 and Utkal University Chancellor’s cup. He was principal of several government colleges of Orissa, vice-chairman of Plus Two Board of Orissa, Deputy Director of Public Instruction (DPI) of Higher Education of Orissa, and retired as a Professor of History of Gangadhar Meher College (presently an Autonomous College) of Sambalpur, Orissa.[]
As a creative writer, Das wrote Aji Kali Pa’ridina (1986), which received the Odisha Sahitya Akademi Award for fiction in 1988. He also wrote a collection of short-stories entitled Cahinle Akasa, which was published in 1992.
In 1969, Das co-authored with Brajendra Kumar Sethi a high school textbook on Indian history in the Odia language, entitled Bharati Bharata Itihasa. It was the first regional language textbook of India to describe the national uprising of 1857 as the \"First National Campaign of Independence\", rather than following the hitherto accepted phraseology of \"Sepoy Mutiny\".[]
Rajendra Prasad Das was born on 15 July 1930, in Samia village of Jajpur District of Orissa, to Alekh Prasad Das and Snehalata Devi, who were disciples of Mahatma Gandhi, noted freedom fighters and social workers. Alekh Prasad Das who had refused to join post-independence politics to pursue the programs conceived by Gandhiji for emancipation of the people in the grassroots was also an award-winning writer who won the Orissa Sahitya Akademi Award for his autobiography Jibanara Daka.
Das was married to Saudamini Devi, an artist and writer, who wrote under the penname Utkalika Das. Her books Punya Mandakini, and Bhabaku Nikata have won critical acclaim. He died in May 2006, and is survived by six children, and grandchildren.","raw_bio":"Professor Rajendra Prasad Das (1930–2006) was an Indian archaeologist, an authority on the construction history of Hindu temples, a noted historian, a respected academician and an award-winning novelist. Professor Rajendra Prasad Das is credited with discovery of a chalcolithic site in the Prehistoric Ganges Basin of India, an important archaeological find. During his tenure with the Archaeological Survey of India (ASI) Rajendra identified a 230 X 135 m site at Mahisdal located on the left bank of the Kopai River in Birbhum District of West Bengal for archaeological excavation. Das led the ASI excavations in 1963-64 of the site which unearthed significant archaeological remains that date back to 1619-1415 BC. The findings include a rich assortment of red and black plain and painted ceramics, copper, beads of steatite and semi-precious stones, bone tools, bone bangles and decorated combs that establish Mahisdal a chalcolithic site of considerable importance in the Prehistoric Ganges Basin of India. Substantial quantities of burnt (carbonized) grains of rice found at the site suggest a massive fire that destroyed the settlement. Das pioneered the technique of deciphering and transcribing the texts written in Karani script etched on palm leaves, which constituted palm-leaf-manuscripts of historical events as well as of scholarly texts.[] In collaboration with Alice Boner, and Sadasiva Rath Sarma, Das translated and annotated four unpublished texts from a number of palm-leaf-manuscripts relating to the construction history and ritual of the famous Sun Temple of Konarka built in the thirteenth century.[] This pioneering project led to the publication of New Light on the Sun Temple of Konarka in 1972. This book systematically describes the architecture of the Sun Temple of Konarka and the surrounding shrines, rituals of worship and yantras, detailed history of construction, chronicles and accounts of building operations, and the religious rituals of the temple.[] Das collaborated with Bettina Bäumer to transcribe the seventeenth century Orissan text, the Silparatnakosa, which is a glossary of Orissan temple architecture, and describes all the parts of all the most important temple types of Orissa such as the Manjushri and Khaakaara, and also contains a section on sculpture. This text was edited from three palm-leaf-manuscripts, and is an important work of the Silpa/Vastu literature of India.[] He also collaborated with Baumer and Sadananda Das to completely revise and translate Silpa Prakasa, based on palm-leaf-manuscripts transcribed earlier by Boner, and Sarma. Silpa Prakasa is a tenth-century text on temple architecture that describes various temple types, temple construction, and the iconography and symbolism of the unique Orissan temples. Das was first in BA Honours in History, and first class first and gold medallist in MA in History from Utkal University. He was the President and General Secretary of Ravenshaw College Union.[] As a keen debater, Das had won many laurels including the Borasambar Senapati Prize in 1950 and Utkal University Chancellor’s cup. He was principal of several government colleges of Orissa, vice-chairman of Plus Two Board of Orissa, Deputy Director of Public Instruction (DPI) of Higher Education of Orissa, and retired as a Professor of History of Gangadhar Meher College (presently an Autonomous College) of Sambalpur, Orissa.[] As a creative writer, Das wrote Aji Kali Pa’ridina (1986), which received the Odisha Sahitya Akademi Award for fiction in 1988. He also wrote a collection of short-stories entitled Cahinle Akasa, which was published in 1992. In 1969, Das co-authored with Brajendra Kumar Sethi a high school textbook on Indian history in the Odia language, entitled Bharati Bharata Itihasa. It was the first regional language textbook of India to describe the national uprising of 1857 as the \"First National Campaign of Independence\", rather than following the hitherto accepted phraseology of \"Sepoy Mutiny\".[] Rajendra Prasad Das was born on 15 July 1930, in Samia village of Jajpur District of Orissa, to Alekh Prasad Das and Snehalata Devi, who were disciples of Mahatma Gandhi, noted freedom fighters and social workers. Alekh Prasad Das who had refused to join post-independence politics to pursue the programs conceived by Gandhiji for emancipation of the people in the grassroots was also an award-winning writer who won the Orissa Sahitya Akademi Award for his autobiography Jibanara Daka. Das was married to Saudamini Devi, an artist and writer, who wrote under the penname Utkalika Das. Her books Punya Mandakini, and Bhabaku Nikata have won critical acclaim. He died in May 2006, and is survived by six children, and grandchildren.","slug":"rajendra-prasad-das","DOB":null,"DateOfDemise":null,"location":"","url":"/sootradhar/rajendra-prasad-das","tags":null,"created":"2023-12-27T18:58:44.794326","is_has_special_post":false,"is_special_author":false,"language":13}],"description":"

The Great Poets and Writers in Indian and World History!

","image":"https://kavishalalab.s3.ap-south-1.amazonaws.com/sootradhar_description/black.jpg"}