ART AND CRAFTS OF ODISHA

Art and craft of any particular region display the unique blend of history and philosophy along whose line the civilization of that particular region has evolved.Crafts and art embed in them the long process of history in which the civilizations evolved and merged to yield the finest effect of cultured life.They are more than mere dispaly that soothes the vision of an onlooker.They are, in fact a reflection of the entire culture and heritage of a particular race.

The cultural heritage of Orissa too finds echo in its myriad vibrant art forms.With a history older than that of india and a culture that kept on evolving as the land passed from the rule of one ruler to other,Orissa's art and craft show as much variety and color as its past.The land in fact is rich in its diverse artistic achievements.having unique and distinct traditions of painting,architecture,sculpture,handicrafts,music and dance,Orissa has certainly been a paradise for art and artisians to evolve.

Famous for its appliqué items, Pipli attracts thousands of visitors offering a gala of alluring handicrafts. Silver filigree is an art form which has been the centre of Orissa's handicraft from time immemorial and still forms an important export item of Orissa . The exquisitely carved stone sculptures, embellished on the walls of the ancient shrines and monuments attest the artistry of those sculptors who perfected the skill through centuries of disciplined efforts. Palm leaf painting is a form of art that baffles historians till date.Nobody can help salute the spirit of the artisans who endured time and fatigue to produce art pieces on pieces of palm leaf with exquiste beauty and details.

These and many other forms of art and craft that still keep on finding expression in the lands of Orissa tell a story of skill, preseverance and dedication.Please scroll through this section by clicking on the links below to know more about the Art and craft of orissa.

1. Applique Work
2. Bamboo And Cane Work
3. Dhokra Metal Casting
4. Horn Works
5. Stone Works
6. Jhoti,Chita& Muruja
7. Lacquered Crafts
8. Traditional Paintings
9. Palm Leaf Paintings
10. Papier Mache
11. Silver Filigree
12. Sarees Of Odisha
13. Terracota
14. Wood Craft
15. Unhusked Rice Craft
16. Patta Chitra
17. Sand Art

    Applique Craft of Orissa

'Applique', is a French term that refers to an art form of superimposing patches of colored fabrics on a piece of basic fabric/cloth to give it an altogether a new look. Though this form of art is not unknown in other parts of India, it is Orissa and especially in Pipli that the craft has a living and active tradition continuing over centuries. In fact applique works are a vivid expression of Orissa Crafts. It is generally accepted that appliqué works ofOrissa date back to more than 850 years. The process of making the products has remained unchanged over the past few centuries. However during the last two to three decades, both the applique products and their style have undergone a tremendous change.

Among the traditional applique work, Chandua,Chhati, Trasa, Alata,Adhoni, Mandant and Bana, used at the time of Dola Jatra for deities are quite well-known. The use of all these products are associated with the religious ceremonies of Lord Jagannath. So it can be safely concluded that this art form ascribes its origin to the Jagannath cult. Patronized by kings and nobility of Orissa, appliqué work at one time had reached the artistic heights of excellence. The kings of Puri engaged craftsmen in the service of Lord Jagannath and set up village Pipli for them to live in. They were specially skilled in designing the canvas cloth that is used to cover the chariots of Lord Jagganath,Lord Balabhadra and Devi Subhadra.

Over a period of time, however the art form evolved to include other products as well that were prepared both for domestic and individual use. Two such products are Batua and Pasa-Pali. Since betel is commonly chewed in Orissa, a special type of bag called Batua is prepared to carry betel leaf and accessories. It is very much popular among the tourists from Eastern parts of the country. Pasa Pali or the dice-mat is another popular ancient products sold among the natives. All these products are today being replaced from the main menu of appliqué art. Instead, wall hangings, garden umbrellas, lamp sheds, cushion covers and letter bags are now prepared as they are very much in demand by the tourists.

The art form typically depended on four basic colors - red, white, black and yellow to produce a striking effect. In recent years, green too has been applied vigorously enlivening the craft even more. Temples and other religious institutions extensively patronized this art. In fact the basic inspiration for the art form was mainly religious in nature.

How It Is Done

The craftsman first prepares the base material in the shape of square, rectangle, and circle or oval which forms the background for the pieces of art. Appliqué motifs in contrasting colors are then cut in the shape of animals, birds, flowers, leaves, celestial bodies and geometric shapes. These motifs are then stitched into the base cloth in aesthetic arrangements. Raised motifs are prepared by giving several folds. The actual grace of appliqué craft lies in its intricate stitches namely, bakhia, guntha, turpa, chikan and other very delicate and esoteric embroidery techniques. Nowadays, small mirrors and bright metal pieces are used to enhance its beauty. After attaching the appliqué patches to the base cloth, the borders are then stitched. The piece of art is now ready for sale.

Almost all the family members get involved in this craft. Skilled persons of the family go for beautiful intricate designs while the less experienced take up the simple works like stitching the borders and making the base clothes.

Pipili: The Applique Shop of Odisha.

Bamboo and Cane work

Bamboo and cane works constitute an important part of the tribal art and provide them with regular income through out the year. In today’s date, it is no longer confined to the tribal market as it has found large scale acceptability. In the process, it has become an important part of the Orissa Craft. Many decorative items apart from items of daily needs are made out of cane and bamboo, like mats, baskets, durries, lamp shades etc. The art has been refined further to include furniture items now a day. In fact in today’s market, cane furniture is much in demand for their simple style and elegance in design.

The entire process of creating bamboo and cane craft involves intricate methodology that the craftsmen take years to master. First the stem of cane and bamboo is cut with a hacksaw and split longitudinally. It is then heated in low flame in order to make it a bit more flexible.

Bamboo crafts usually involve two forms – i) Basketry ii) Mattress

In basketry, bamboo/canes are coiled around a central core. The split canes are then built up spirally and the coils are joined by sewing the strips. Once the baskets are created they are decorated with paper, lace, shells or are painted with different colors. Weaving process is done by hand using water to soften the splits.

Creating mattress is although simpler than the basket items; involve lot of time and skill. The bamboo strips are weaved one after the other to give it the desired shape. The borders are generally tied with dried grass to stop the woven parts from slipping out.

Dhokra Metal Casting Craft of Orissa

Dhokra or bell metal craft is a tribal craft that combines metallurgical skills with wax technique to create things of distinctive beauty. The same technique had been used by the Mohenjodaro craftsman to cast the bronze figurine of a dancing girl some 4500 years ago. It is thus a very old form of craft that is still practiced in parts of Orissa. Tribal families in villages near Dhenkanal town cast boxes, figures of gods and goddesses, and lamps using the lost wax technique. In the process these tribal family have successfully preserved the ancient Orissa Craft of Dhokra Casting and have taken it to new heights of perfection.

Craftspersons are spread out throughout the state, making various religious and household utensils. The Kansari community of Orissa is expert at making Dhokra cook ware. Such materials have a gold tinted surface and are made from an alloy of copper and brass. It is the use of bee wax that makes it possible for the craftsmen to give shape to various structures. The entire process involves certain steps:

Step 1: Using rather coarse clay the shilpi makes a core vaguely resembling the end product. The clay core is hardened either by drying in the sun or by mildly firing in an oven.

Step 2: Drawing the bees-wax into stripes and thin wires, the artist wraps them around the clay core to produce a replica that is smooth and expressive. Then they add the decorative features and wax channels. The channels, during baking in the furnace will act as a freeway for the molten metal.

Step 3: The replica is coated with a thin layer of very fine wet clay. This layer is sun dried, and further layers of clay added. The mould is now ready. The artist must now become a metal worker. A clay funnel is added for molten metal to flow inside the mould.

Step 4. The mould is carefully heated so that the wax melts and is lost (hence the name lost-wax technique) leaving behind a cavity.

Step 5. It involves actual casting in a furnace. The cavity is filled with molten metal, and the mould is left to cool.

Step 6. The clay mould is broken and the artifact taken out for cleaning and polishing. A new artifact has been created out of metal scrap. The Dhokra shilpis often work with brass (copper + zinc) or bronze (copper + tin). If the tin content is high, the alloy is called bell metal. Unlike in the case of potters, where traditionally the turning wheel is reserved for men, all parts of Dhokra work can be done by either men or women. Children learn the craft through imitation and instruction.It is entirely through parental guidance that this craft of Orissa is handed over from one generation to other.

Horn Works

Horn articles of Orissa are mystical and are blended with a superb design. Their lively appearance and dynamism vie with the real objects of nature . There are artisans in Parlakhemundi and Cuttack who are dexterous in providing articles of daily use like combs, flower vases and pen-stands out of the horn of cattle.

Creating objects of decoration from horns of animals is acraft of Orissa that has been practiced from ages, primarily by the tribes of Santhals, Oraons and Marijas. Contemporary artisans use the cow and buffalo horn to make more utility items like ashtrays, jewelry and combs. Sometimes, horn and silver filigree work are combined to make ornaments. The combined style is more prevalent in Cuttack. Beautifully carved combs of bones and horns are popular all over the world.

The desired object is carved from the solid part of a horn after soaking it in water. Then the carved piece is heated to a specific temperature and shaped. After that, its surface is smoothed by rubbing it against a sharp stainless steel blade . Necessary bores are made to fix appendages. In the past, eyes were made of the stag antler stick at the center of which a bore was drilled and stuffed with lacquer burnt in a luminous flame. But nowadays, plastic eyes are being used due to non-availability of stag antlers. After drilling bores, light incisions and grooves are made in the required places on the body of the horn. At this stage it is handed over to the women for polishing. They rub the articles first with a sand paper and then with wet Khrshana leaves. The polishing is done till the horn is smooth and shiny. Then it is thoroughly cleaned with water and dried in open air. It is then polished again with cow dung ash or charcoal ash. The various parts are then assembled and stuck together using limestone paste. Finally coconut oil is smeared all over to give the horn work a beautiful sheen.

One of the popular crafts of Orissa, horn work craftsmen are adept in creating things of daily use like pen stands, table lamps, paper weights, lamp shades, snuff boxes, walking sticks, vermilion . But the loupe-cleaners, razors, spectacle-frames, cigarette cases that were in vogue during the Second World War are now conspicuous by their absence. Though they were imitational items, it did not prevent them from being works of art. However, the name of craftsmanship is attained in those made in imitation of living beings. Fish and Fowl, Flora and Fauna, Men and Women in fact, the entire gamut of creation is rendered in a naturalistic manner. The list of horn crafts from Orissa remain incomplete without a mention of the horn deities, especially Lord Jagannath. In keeping with the changing times, inspiration for decorative pieces is being drawn from modern art as well.

Stone Carving

The tradition of stone-carving is very rich in Orissa.Craftsperson fromOrissa had since the ancient time in Orissa had achieved a very high degree of expertise in stone carving. The huge repertoire of stone carving is best revealed in the architecture and rock-cut sculptures of Lingraja, Jagannath, Mukteshwara and other temples of Orissa. Other noteworthy monuments include the temple chariot of the Sun God at Konark, stupas of Ratnagiri and Udaygiri, Surasundaris heavenly beauties playing on different musical instruments at Konark temple, the Konark wheel, horse, elephant, lion. Other motifs include Krishna and Radha, Laxmi, Vishnu, Durga, Buddha and Ganesha. Stone carving as a form of Orissa Craft is still practiced by many craftspersons.

Only a few simple tools like hammers and chisels of various shapes and sizes are enough to carve the ultra soft white soapstone, or Khadipathara, harder greenish chlorite or Kochilapathara and pinkish “Khandolite” or Sahanapathara or Baulapathara and the hardest of all black granite or Mugunipathara.Stone carving in Orissa as a traditional craft and has been practiced for centuries and had reached dizzy heights of excellence due to disciplined efforts of generations.

There are also a variety of household products that are made from sand stone while granite is used to make images modeled on temple figures. Contemporary artisans have made many a decorative and utility articles like ashtrays, paperweights, candle stands and book rests out of stone carvings. Even kitchenware and stoneware utensils are not uncommon in this part of the world. Patharasahi is another important stone-cutting and stone-carving centre. Puri specializes in icons and figures carved in different dance poses.

Stone Utensils of Keonjhar

These stone utensils are mainly found in the centers of Lulung and Bolgariah of Keonjhar district. They are made by using a hand-turned lathe. The design and shape of these utensils is very unique. These utensils are valued for religious purposes and are also supposed to have a curative medicinal effect on diabetic patients.

Jhoti, Chita, Muruja

Jhoti and Chita

The folk art of Orissa centers on the social and religious activities of the state. In the month of Margasira, women worship the goddess Lakshmi. It is the harvest season when grain is thrashed and stored. During this auspicious occasion, the mud walls and floors are decorated with murals in white rice paste or pithau. They are called Johti or Chita and are drawn not merely with the intention of decorating the house, but to establish a relationship between the mystical and the material, thus being highly symbolical and meaningful. Sometimes a brush is prepared by attaching a piece of cloth to a twig. This is dipped into the white rice paste to draw patterns on the wall. At times, the paste is sprinkled on the walls with delicate swishes of mist, and a pattern resembling bunches of paddy emerges on the wall.

Throughout the year, the village women of Orissa perform several rituals for the fulfillment of of their desires. For each occasion, a specific motif is drawn on the floor or on the wall. For instance, in Lakshimi Puja a stack of paddy is drawn on the walls structured like a pyramid. During Durga Puja, while dots superimposed with red are painted on the walls. This combination of red and white signifies the worship of Shiva and Shakti. To draw a Jhoti or Chita, the fingers are dipped in to the rice paste and made to trace out intricate patterns on the floors or walls.

Muruja

Muruja is drawn on the floor with powders of different hues. Indigenous methods are used to get color powders. White powder is obtained from powdered rice, black from burnt coconut shells, yellow from the petals of marigold flower or turmeric and red from clay or bricks. In the holy month of Kartik (November) women of Orissa observe penance and draw Muruja designs near the Tulsi plant. These are also drawn on grain bins, on small pavilions for household deities, on the threshold of homes and on earthen pots used during marriage and on other auspicious occasions.

Lacquered Craft

Lac is the refuse of an insect that is gathered by the tribal people.This refuse is used to make goods of innate beauty by craftsmen in Orissa. Basically a form of tribal craft,this craft is practiced mostly by the tribal women in Balasore and Nawrangpur districts of Orissa by mixing it with different colors and applying on the crafted items. The work is executed in delightful folk designs and includes items like bangles, necklaces and toys; all of them distinctive and hence in great demand by the cognoscenti. The items thus created are much in demand in the international markets and are generally exported.

After conceiving the design of a particular item and giving shape to their imagination, the women apply coats of lac on it. This is done until the surface is evenly coated with lac. After this, the items are left for drying. The surface of the items is then decorated with motifs from nature, geometric patterns and religious symbols. Although the visual power of color and design combine to make an ornamental effect, the artisans are constantly exploring the area of material, form and technique.

Though there are many items that are produced out of lacs like toys,bangles and even jewels, the aesthetically crafted bamboo boxes are the items that attract much of a tourists attention and quite evidently so these are the major lacquered items to be exported from Orissa. The bamboo boxes are lacquered in attractive colors and ornamented with perfection. These attractive boxes make for great presentation items on all occasions.One of the exquisite crafts of orissa,lacquered craft are simply awesome.

Traditional Paintings of Orissa

Orissa had developed quite a unique form of painting, known as the Oriya school of paintingin the bygone days. Based around the Jagganath cult these art forms developed in the temple of Jagganath temple to gradually find their way out. The Oriya school of painting can be divided into:

1) Classical Oriya painting
2) Folk painting
3) Tribal painting

Classical Oriya painting

The classical Oriya painting, Pattachitra is painted on a specially prepared cloth (patta), coated with earth to stiffen it and finally finished with lacquer after painting, producing motifs in vibrant colours. Pattas are now used as wall hangings. The subject matter of patta paintings are closely connected with the Jagannath cult and the episodes from Ram and Krishna life. Pattas showing in scenes of Rasa Lila, Vastra Haran, Kaliya Dalan, images of Lord Jagannath, themes of eroticism, nature and wild life executed in vigorous folk style are cmmon. The traditional chitrakars (painters) have the honor of painting the Puri temple deities and their chariots (cars) every year.

Palm leaves (Chitra pothi)

These were basically the folk paintings from Orissa. An exclusive and indigenous tradition of Orissa, the craft of palm leaf manuscripts dates back to the medieval period. With the help of an iron pen or stylus (lohankantaka), the artist first inscribes texts or design on the surface of palm leaves. A paste of tamarind seed, oil and charcoal is then applied over it. The residue is then rubbed off thus revealing the groove that stands out distinctly. Usually the legends of the Mahabharat and Ramayan, gods and goddess, the nature and wild life themes are presented. The visual effects are enhanced using the vibrant vegetable and mineral colors. Romantic figures drawn on small leaves now serve as book marks, greeting cards and playing cards. Of late, the traditional artists clustered in the village of Raghurajpur, about 50 km from Bhubaneswar have revived this art from. The village of Dandasahi near Raghurajpur has been identified as another centre.

Orissa Tribal Paintings

The tribal paintings of Orissa are intimately related to their religious beliefs and drawn to appease their deities. Edital is the ethnic painting of the Saora tribe usually depicting everyday like along -with the concepts of retribution, punishment and rewards. The Saora artists use right angled triangles to cast the anthropocentric world in different moods and emotions. The Kondhs paint the walls of their houses with geometric patterns, called Manji Gunda while the Santal paint the figurative designs.

Palm Leaf Paintings of Orissa

Palm leaf paintings of Orissa are one of it's most ancient art form. The Palm Leaf illustrations of Orissa are mainly of two types

1) Simple engravings or illustrations in pure line on palm leaf
2) Engraving with color fillings

Most of the palm leaf engravings in Orissa are simple. Horoscopes were traditionally written on palm leaves by professional horoscope makers known as Nahakas. These were simple engravings.

The color engravings are those which use colors in the process of engravings. In these engravings, colors are muted and play a very minor part. Wherever colors were applied, they are just painted either to emphasize the inscriptions, or to fill up blank space. Religious texts basically form the major chunk of colored engravings.

Palm leaf is a sacred art of Orissa and even to this date horoscopes continue to be written in Palm leaf. The respect that this art form commands in Orissa can be gauged from the fact that even after the advent of printing presses in Orissa, important texts continued to be printed on the leaves instead of paper. The printing of New Year cards and wedding invitations on palm leaf is still followed in Orissa.

Palm Leaf Painting - The technique

Rows of same sized palm leaves are first arranged together and sewn. These neatly sewn palm leaves are then folded in such a way so as to make a pile. These paintings are first etched out, which means that the designs and images are neatly etched on the surface of the palm leaf using a sharp pen or stylus like object. Ink (or a concoction of charcoal of burnt coconut shells, turmeric and oil) is then poured along the lines; the lines are now defined. Vegetable dyes are also added to give these paintings some color, but these paintings are mostly, dichromatic (black and white). The panels of the paintings are unfolded like a fan to reveal a beautiful patta chitra.

Palm Leaf Paintings - The themes

Mythological themes dominate most pattachitra paintings; scenes from the Hindu epics, Ramayana and Mahabharata are lovingly depicted. Local legends and folklore too find their way into the paintings. Legends of Lord Jagannath,Radha and Krishna, Durga, Ganesha and Saraswati are the most commonly used Gods and Goddesses

.This ancient art form has found admirers far and wide. Not only does the intricate designs and aesthetic depiction of Gods and Goddesses attract ones attention, the use of the leaf adds to the quaint charm of the Art form. This form painting is hailed as very eco friendly too. Today there are small towns exclusively dedicated to this art form in Orissa. One can visit the towns of Raghurajpur and Chitrakarashi to see the artists at work. A first hand sampling of this art form is a must for all art lovers.

Papier Mache

Papier Mache skill has been creatively practiced by crafts persons from all over Orissa for long. Masks, hand bags, toys are produced out of specially made papers in Orissa that are not only beautiful but strong and durable as well.

Orissa has a history of folk theatre also known as Jatra in local parlance. The characters of these Jatras are made of wood and vividly painted. They are dressed according to the characters played by them and are controlled by strings. Based on the characterizations, masks are used by the artists. These masks are made of wood, sholapith and papier mache. This has given rise to the art of making masks from special paper. Most artisans for this craft are located in and around Puri.

An elaborate procedure is followed to make papers for these items. Paper, waste cloth and different kinds of natural fibers are soaked and beaten into pulp. They are then mixed with a variety of seeds and gums for strength and as protection from termites. Special clays and bio-wastes are added for body and reinforcement. The entire process results in a medium so malleable that it requires skill to be molded into countless forms. Items like masks, toys and caps generate a lot of interest in the market.

Silver Filigree

Tarakashi or silver filigree is one of the most exquisite renditions of silver craft. Beaten silver is drawn into fine wires and foils which are then fashioned together to create jewelry of infinite beauty. The silver filigree craft of orissa is similar to that done in Indonesia. Possibly this craft has been carried on to Indonesia by the ancient trading communities from Kalinga .It is also possible that the craft existed in Indonesia and was adopted by the traders and brought to Orissa. Whatever be the origin of the craft, it is one of the most beautiful forms of human craftsmanship ever practiced and a befitting expression of the Orissa Craft that has thrived for centuries.

The main centre for silver filigree craft is Cuttack.The process of creating the filigrees is interesting. The ingots are beaten on an anvil and elongated into long wire by passing them through a steel plate with apertures of different wire gauges. Each filigree jewelry piece actually combines several component parts. Two or three wires are wound together after heating and then bent into various shapes to get the patterns. The space within the frame is filled with the main ribs of the pattern, which is usually a creeper or flower, forming itself into small frames of circles, flower petals, and the like. The silver jewelry made in Orissa has twisted silver wire as the base material; the articles have a lacy, trellis-like appearance which gives them a rare charm.

This craft of Orissa requires delicate workmanship. The products made include ashtrays, boxes, cigarette cases, trays, bowls, spoons, pill boxes, jewelry, buttons and perfume containers in the shape of peaks, parrots, or fish. Silver dishes and decorative pieces are also handcrafted to perfection.

Sarees of Orissa

Orissa sarees have a close relation with the Jagannath culture. Originally, the four basic colors which are found on Lord Jagannath—black, white, red and yellow—are extensively used in Oriya saris. Even the motifs such as the temple border, lotus, conch and wheel, signify the affinity with the reigning deity. The traditional Orissa sarees have undergone vast changes as weavers try to adapt the designs to popular taste. Orissa handloom sarees can be broadly classified into the following categories:

Ikat Sarees

Traditionally the Ikat sarees have been produced in Orissa since time immemorial. The discovery of Ikat woven cloth found in a Pharaoh’s tomb pointing to 5,000-year-old trade connections with India. The Ikat tradition of Orissa is the intricate process of Tie and Dye i.e. knotting selections of yarn before dipping them in separate colours one at a time and finally weaving them to produce one of the most delightful designs in multi-hued tones, in motifs drawn from the richness of nature, in threads both silken and gold. The Ikat technique is commonly known as BANDHA in Orissa and the traditional Ikkat sarees called as patan patola.

In general terms, Ikat is a form of weaving these wonderful textiles. The weft or the warp or both are tie-dyed before weaving to create designs on fabric in this method. The making of the Ikat sarees is so meticulous that it takes nearly seven months to make them. The various color combinations add grace to the Ikat sarees. Traditionally, the women of Orissa dress in sarees of blue, red and magenta and other deep colors, with Ikat patterning. These beautiful and eye catching saris are made within the state, mainly at Nuapatna, near Cuttack on the coastal plain, or in the weaving centers inland around Sambalpur, Bargarh and Sonepur and Boudh districts.

Bomkai Sarees

A traditional figured sari from southern Orissa the Bomkai saree is named after the village where the craft is practiced. These saris, woven traditionally for the local aristocracy use a heavy low count cotton yarn that is dyed in bright colours mostly black and red along with silk fabrics.

Using a time consuming weaving technique the field warp threads are cut and then retied to different colored warps to create the unusually large pallu. This technique is locally called muhajorhi (or pallu with joined threads).

There are Bomkai sarees with elegant designs, enchanting colors for the exclusive women. Some Bomkai sarees have small fishes woven onto the border. Fish symbolizes prosperity and good health. Bomkai sarees feature threadwork ornament borders and pallu. These sarees are much in demand owing to their traditional look as well as their understated and elegant color palette.

Caligraphy Textiles/Phetas of Orissa

Historical records available at the Jagannath Temple in Puri dating back to 1719 indicate that verses (shlokas) from the Geeta Govinda were woven into cloth donated to the temple. This unique Orissa tradition continues to this day with weavers from the Patra community in Nuapatna weaving these textiles.

Koraput Sarees

The tribal saris, scarves, and woven fabric lengths of the Koraput-Bastar region are woven in heavy count cotton ranging from 10 to 20. The weaver uses a three-shuttle interlock patterning, which makes available innumerable combinations in scale and volume. The characteristic natural dye coloring used is derived from the deep red aal or madder dye which is extracted from the root of the Indian Madder tree. The powerful and vibrant deep maroon that is obtained is often darkened to brown with the addition of harikari or sulphate of iron. These colors combined with the natural unbleached off-white color of the yarn produce dramatic results.The designs used have an underlying symbolism and are largely inspired by nature or by significant objects of daily use.

Pictorial Sarees

Peculiar to Orissa are the pictorial saris that are woven for the rural market. Unappealing to their urban counter parts these saris are woven with architectural building patterns, religious temple outlines, landscapes and often objects that figure large in the mindscape of the weaver including aero planes.

Apart from the afore mentioned categories, Orissa handloom products can also be categorized into the following categories:

1. ‘Bandha’ or tie-and-dye from Sambalpur is one of the finest examples of double ikat; ‘Khandua pata’ from Nuapatna in Cuttack district is relatively cheaper than Sambalpuri because the yarn used is the cheaper Malda variety;

2. The Bandha or tie-and-dye technique used in Orissa is much different from that of Gujarat and Rajasthan. Here, the yarn is first tied in portions, and each section is dyed in a different color according to the design. When woven, the designs emerge, and the special feature is that the design is prominent on both sides of the fabric. This is a very complicated process and it is rather amazing to find that the traditional weavers do not use any graphic designs on paper. The common motifs are borrowed from nature. Flowers, creepers, birds, animals are abundantly woven in myriad colors, all lending a distinct feature to the nine yards of woven wonder.

3. The Pasapalli saree with its distinctive black-and-white squares is a replica of the chessboard. Equally fascinating are the names—Vichitrapuri, Chandrika, Nabagunja, Asman Tara and Krishnapriya. The earlier yarns of coarse cotton have been replaced with fine cotton, silks, tussar and a cotton-silk mix called ‘bapta’. Gold thread and tissues are also used to enhance the patterns.

The other typical varieties of Orissa saris, in silk and cotton, include the glossy Khanduas having elaborate designs, the rich red Jotai Ikat with rows of stylized trees and temple spires on the borders, the unbleached cotton Kotpad from Koraput offset by a vibrant red dyed border, the Taraballi and the Bichitrapuri. The tribal people of the State also excel in producing textiles of myriad hues using vegetable dyes.

Terracota

Terracota is traditionally done by the tribal of Orissa. They use special type of clay to give shape to their imaginations through their skillful hand . Popular items of terracota iclude roof tiles and utensils such as plates, khullars or the earthen tea cups, jars and many other kitchen items. Artists prepare many items most of which they outline and highlight with colors. However, in most cases the finished is left with the natural terracotta color. Animal figurines of bulls, elephants and horses are also elegantly molded in very natural strong forms.

Wood Craft

Wood Carving is a highly specialized form of carving that is extremely intricate and meticulous. Decorative pieces like animals, temple carvings, idols of Lord Jagannath, and toy items are some of the popular pieces carved in Orissa along with other utilitarian items like bowls, plates, and ashtrays .These items are simple and done in polished wood.

Excellently proportioned and finished to fine smoothness these wood carvings depict myths, legends and folklore. Good examples of the work of the wood carvers of Orissa can be found in temple ceilings and carved wooden beams and doors in places like Charchika temple, Buguda, Banki, Birnchinarayan temple, Kapilas, Siva temple and the Laxmi Nrusingha temple at Berhampur. Other popular motifs include various stylized animals and birds, elephant, lion, tiger, bull, peacock etc.

The craftsmen of Kendapara are famous for their wooden handicraft products. Daspalla area near Puri is also famous for wood crafts. The craftsmen of Khandapara in Puri are proficient at carving plates, bowls, flowerpots and other decorative articles from a creamy white wood.

Unhusked Rice Craft of Orissa

The tribal of Orissa are master craftsmen and specialize in producing spectacular items out of many daily use things. Handicrafts of the unhusked rice are one such thing. For aeons, the tribal have practiced this craft of making chains, figures of deities, animal figures, flowers, garlands and other objects. This painfully laborious craft – is practiced in parts of Balasore, Koraput, Bolangir and Kalahandi .The entire process demand meticulous attention and minute detailing.

Once a flourishing item of craft owing to religious significance, the craft is practiced hardly by 15 to 20 families today and that too during lean agricultural months. The products are sold mainly at local haths (markets), though some of the artisans have access to urban craft bazaars.

Products

The products painstakingly pieced together, include images of Goddess Laxmi, elephants, chariots, tribal marriage crowns, images of temples, hand fans and baskets.

Tools & Techniques

No formal tools are used for making these tribal craft of Orissa . The raw material required is mainly unhusked paddy seeds of uniform size. The only other things that is needed is thin bamboo sticks and strong yarn in red, green and yellow colors. The process involves tying by hand each individual paddy seed to two thin bamboo sticks that are placed parallel to each other at a minute distance but are sufficiently close enough to hold the paddy seeds tightly in a straight line. This is a very painstaking and repetitive job that requires high degree of concentration and unmatched dexterity. Each and every seed of paddy has to be knotted individually. Garlands of paddy seeds are thus formed with different colored threads which are then pieced together to give different shapes. The length of each of these paddy garlands is approximately one yard. About ten paddy garlands are required to create 30 pieces of Goddess Laxmi in a medium size. Each of these pieces is sold at a nominal rate. After household chores are over women and children usually perform the hard task of making the paddy garlands in their spare time; both the men and women then craft the final images.

Patta Chitra Painting

The Patta Chitra painting, one of the fascinating art forms of Orissa, has a tradition that goes back to centuries. In fact, it is often described as the best among the Orissa Craft. Evolved in the Puranic culture and grown in mythology, this form of art developed and revolved around the Jagannath cult of Orissa.

Patta Chitra and Lord Jagnnath

The word “Patta” means cloth and the word “Chitra” means a picture. Thus Patta chitra is a form of painting that is done on clothes. The art form can be traced to as early as the 12th century A.D and has evolved around the Jaganth cult in Orissa. Even to this date certain ritual in the temple of Lord Jagannath is incomplete without the Patta Chitra. The Debasnana Purnima is generally associated with the ritualistic bathing ceremony of the Lord Jagannath. After this the deities become sick for fifteen days and the devotees don’t have darshan of the Lord in his seat, the Ratnavedi. This period is known as Anasar. During this period, three Patta paintings of the Lord Jagannath, Balabhadra and Subhadra are worshipped. These are known as Ansar Pati and unlike the images of the Lord which are incomplete, depict them with full limbs in Padmasana holding Sankh (conch), Chakra(wheel), Gada (club) and Padma (lotus flower) in his four hands.

Traditional Patta Chitras that are painted for Lord Jagannath has elaborate rituals attached to it. The chitrakars/painters need to work on the painting wearing a new dhoti, eat only vegetarian food and sleep on floor. Once the painting is over, a grand bath (maha snana) amidst chanting of mantras is arranged and the deities are put in for Darshan confirming with tradition. After the fifteen days period or Anasar, the paintings are stored in the storehouse of the temple.

Traditional way of making Patta Chitra

The form of worship associated with Lord Jagannath is vaisnavite. Thus apart from Lord Jagannath, most of the themes of traditional Patta Chitra are mystical stories from Ramayan and Mahabharat. All the Patta paintings are indigenously prepared following a prescribed method.

First a piece of cloth is washed and dried. A special gum prepared from the powder of tamarind seed is applied over it. Another piece of cloth of the same size and dimensions are put over this cloth before the gum dries up. The tamarind gum is applied once again on this piece of cloth. Once the gum dries, a powder of soft white stone mixed with the tamarind seed gum in ideal proportion, is applied on both sides of the cloth. This is again let to dry. After this, the cloth is polished with a smooth pebble and made smooth to make it suitable for painting. Here it needs to be mentioned that the preparation of Pati/canvas is done solely by the women of the families.

The Pati being ready now, actual work can begin. The colors used are primarily white, red, yellow, blue, green and black and are prepared natural ingredients. While White is prepared from powder of conch-sheel, yellow from Haritala, a kind of stone, red from geru (Dheu) and Hingula black from burning lamp and coconut shell and green from leaves. Traditionally, three types of brushes were used. They are broad, medium and fine. These are prepared out of the hairs of the buffalo, calf and the mouse respectively.

The artists execute a sequential procedure for preparation of the paintings. First the border and the sketch is drawn on the patis either in pencil or in light color. The artists put correct lines to make the figure more prominent. The lines are broad and steady, and then the color is applied. The visual appeal of a patta painting is in its color combination. The human figures are generally presented frontally. But the face, leg is shown side-wise but the elongated eyes are drawn from the front side. Sharp nose and round chins are prominently depicted. The typical hair style, clothing, ornamentation, beard and mustaches are used for different persons, so that there is no scope of confusion to recognize and differentiate between the figures of the king, minister sage, royal priest, common man, the God, the Goddesses and the like. A decorative border is drawn on all sides to give it a frame like look. Overlapping is avoided as far as possible. However, the sense of far and near is neglected here. The typical face style makes this painting different from other school of paintings. The paintings are conspicuous for their elegance, charm and aesthetic appeal. Central focus of the painting is the expression of the figures and the emotion they portray, the strong color only reinforce them.

With the passage of time when the chitrakar family increased and Puri town could not generate enough employment, the Chitrakars moved out of Puri to nearby villages where they did various types of paintings on the walls of theirpattons on festive occasions. Gradually patta paintings on wooden and bamboo boxes, mask, pots etc developed.

In today’s context, the Patta chitra has made a slow sojourn from the temple to the drawing rooms, lounges of big hotels and guest houses. The subject of the paintings has also evolved and taken new dimensions. In addition to the stories from Ramayan, Mahabharat and Vesas of Jagannath, new themes on the life and philosophy of Lord Buddha, pictures on Jainism, Jesus Christ and important historical events are also found in patta paintings. The traditional pattis are replaced with tassar silk cloth and the the chitrakaras have adopted to the brushes sold in the market. Instead of simple rendering, the paintings are now decorated with more ornamentation in order to attract the modern art connoisseur. Even people from other castes are breaking the traditional hereditary rule in getting involved in this art form.

Today people who have adopted this art form as a profession have dwindled though it is still practiced in certain places. The major concentration of the artists and the art form is in Raghurajpur Dandasahi of Puri Sadar Block and Balisahi Chitrakarasahi,Dolamandap sahi, Markendeswar sahi in Puri Municipality, Paralakhemundi, Digapahandi,Chikiti, Berhampur, Dharakot, Bargarh, Sonpurand Keonjhar. From among these sites, Raghurajpur, a village about 12 km. from Puri on Puri-Bhubaneswar road near Chandanpur has attracted the attention of the world as a Heritage village. It has been declared as a Rural Tourism Centre. All the house-holds in the village are artists. The village holds the unique distinction of having maximum concentration of Patta Chitra artists. As per a local survey at least 22 households are pursuing this art form but in practice almost all house-holds in the village are linked with the patta chitra business, they act as artists or promoters.

Sand Art

Carving of sculpture in sand or sand art as is popularly called has been historically rooted in Orissa. Popular story of Poet Balram Das creating images of Lord Jagganath, Balabhadra and Subhadra in the beaches of Puri once he was dissuaded from visiting the Lord ,goes on to prove the same.

In recent times, sculptor of international fame Mr.Sudarshan Pattnaik has been responsible for giving a fresh lease of life to this art form in Orissa. Beautiful sand sculptures by him on the Puri beach attract the attention of any tourist and captivates him. He has represented the country in many sand festivals and brought many laurels home.

The carving on sand is easier and quicker than carving on a rigid stone. So it is a bit easier to learn than the art of sculpting images from stone. A learner can get a clear-cut idea about the carving in a relatively short period of time. Though these sand sculptures are eye catching, they are destroyed easily. With the stimulus in tourism, this wonderful art form has received a high popularization. "Golden Sand Art Institute” which is an open air institute in Puri Beach behind Mayfair Hotel was started in the year 1995. Around 50 students get trained in this institute including tourists in batches. Tourists can take basic 7-10 days familiarization course. Beautiful gallery on the beach can be observed in the beach in the afternoon from 4-6 P.M.