A Brief Discussion of the Book ‘Kalara Bichara’ by Odia Artist Gopal Kanungo

Ramakanta Samantaray and Sailen Routray

Cover of the Book 'Kalara Bichara'

This is the cover of the Odia book ‘KalAra BichAra’ by Odia artist Gopal Kanungo (1904-1971) which is now out of print. It was published in 1955 by Utkal University which was then housed in Cuttack. The printer was Bidhubhushan Misra, Maharaja Shri Ramachandra Utkal University Press, Cuttack. 

The print run was one thousand copies and the book was priced at five and half rupees. ‘KalAra BichAra’ was printed in 1/8 demy size with 161 pages. Including the cover it had 120 illustrations out of which six were colour plates.

The Floor Plan of Konark Temple
(Page 111 of 'Kalara Bichara')

The book’s introduction (originally written in Bengali and then translated into Odia) was by Ramendranath Chakravorty, a pioneer in Indian printmaking. He had written this half page note in 1950 when serving as the Principal of Government School of Art, Calcutta. This means it took around five years for the book’s manuscript to see the light of print. 

The volume had thirteen chapters that included themes ranging from Indian and various other Asian artistic traditions, European art forms and technical aspects of temple architecture, modern sculpture and architecture.

The Ashokan Elephant of Dhauli
(Page 129 of 'Kalara Bichara')

He was born in Lentigada village in undivided Puri district. His father Jagabandhu Kanungo, among other work, served as the Dewan of the princely state of Damapada and as the manager of the Sakhigopal temple near Puri. 

Gopal Kanungo did part of his school education in the famous nationalist institution Satyabadi Bana Bidyalaya. Then he went on to study for a BA degree in Ravenshaw College at Cuttack followed by a stint (1928-34) in Government School of Art, Calcutta. 

He then worked as an art teacher at Government High School Balasore. He also taught in Government Art School, Khallikote for some time.

Illustration of 'ChitA', a folk art form of Odia women
(Page 63 of 'Kalara Bichara')

Gopal Kanungo was a major artist and designer of his times and undertook one of the first experimentations with cubism and expressionism in the state. He was also a major writer in Odia and is now chiefly remembered as the translator of Omar Khayam’s ‘Rubaiyat’ (1954) into Odia. A major contribution of his to Odisa’s artistic discourse was the book ‘Utkalara ChitrakalA’ (1964) published by Orissa Lalit Kala Akademi.

ଫ୍ଲାଏଓଭର୍

ଶୈଲେନ ରାଉତରାୟ

ଆକାଶରୁ ରାତିରେ ଭୁବେନେଶ୍ୱରର ଦୃଶ୍ୟ (୨୦୧୯ ମସିହା)
ଫଟୋ କ୍ରେଡ଼ିଟ୍ - ୱିକିମିଡିଆ କମନ୍ସ୍

ତୁମ ବିନା ମୋତେ ଏଇ ମାଉସୀମା ମନ୍ଦିର ଫ୍ଲାଏଓଭର ଶୂନଶାନ ଲାଗିବ । 
ତମେ ତ ଏମିତି କହୁଚ ଯେମିତି ଆମେ ଏଠି ଘର କରି ରହିଥିଲେ ।
ଘର ନ କଲେ କଅଣ ହେଲା, ଆମ ସ୍ମୃତି ତ ଏଠି ବସା ବାନ୍ଧିଚି ।
ତମ ଭଳିଆ ଛତରାର ତ କେତେ ଫ୍ଲାଏଓଭର ଉପରେ କାହା କାହା ସହ ବସା ।
ହଉ ।
କଅଣ ଖରାପ ଲାଗିଲା ! ତମର ତ ନାକ ଅଗରେ ରାଗ ।
ତୁମର ଏଠି ଫ୍ଲାଏଓଭର ତିଆରି ହେବା ପୂର୍ବର ଚେକ୍ ଗେଟ୍ ରାସ୍ତା କଥା ମନେ ଅଛି ?
ନା । ତମର ?
ହଁ । ତୁମ ମୁଣ୍ଡ ପଛରେ ସୂର୍ଯ୍ୟ ଟାହିଆ ଭଳି ଦିଶୁଚି । ଏଇ ରଙ୍ଗର ଟିକିଲି ନାଇଲେ ତମକୁ ମାନନ୍ତା ।
ଟିକିଲି ପିନ୍ଧା ମୁହଁ ଦରକାର, ତ ଯାଅ କେଉଁ ଟୋକିକୁ ପଟାଅ ।
ସତେ ନା କଅଣ ! ତମେ ଦିଲ୍ଲୀ ଗଲା ପରେ କିଏ ଜାଣେ ।
ଏବେ ଜାଣ ସତ କହିଲ ।
ହଉ । ହେଲେ ତମେ ଗଲା ପରେ ମତେ ରବିବାରର ମାର୍କେଟ ବିଲ୍ଡିଂ ବି ଖାଁଖାଁ ଗୋଡ଼େଇବ ।

A Biographical Note on 

Odia Artist Bibhuti Bhusan Kanungo

Ramakanta Samantaray and Sailen Routray

Bibhuti Bhusan Kanungo
(9 December 1921 - 3 September 1983)

A premier institution in Orissa for art education, B. K. College of Art and Crafts, was started in 1984. Very few people know these days that B.K. stands for ‘Bibhuti Kanungo’, a celebrated applied artist of Orissa who made several pioneering efforts towards creating a base for education and training in the field of art. He was born in SAlagAn village in Cuttack district.

He studied in Government Art School, Calcutta and finished his education there in 1943. After returning to Cuttack in the same year he started doing applied work like book covers etc. In this period he also collaborated with Muralidhar Tali, another Odia artist of note of the times, to create an art school in 1947. 

When the Government of Orissa (GoO) started producing textbooks for schools in 1950s and 1960s, Bibhuti Bhusan Kanungo played a central role in illustrating these books. He worked as a designer in the Department of Textiles of the GoO for some time and left his job in 1968. 

During this period he started a studio called ‘RuperekhA’ in Mohammadia Bazar, Cuttack for undertaking applied art projects. He also illustrated the iconic Odia satirical magazine ‘NiakhuntA’ edited by Godabarisa Mohapatra (1898-1965). The cartoons and other illustrations that he did for this magazine are yet to identified and documented in a proper fashion. 

Bibhuti Kanungo was also a pioneer in making blocks for printing presses in Orissa. He founded a company called ‘Art Reproductions’ for the same that also had a printing press.

He also started a publishing house (with other artists such as Asit Mukherji, Muralidhar Tali and  Siba Panigrahi etc.) called ‘PAnchAli Publications’ that for the first time reproduced in texts, Odia pattachitras in multi-colour, through block prints. 

'Sachitra RAmAyana' published by PAnchAli was first such text that carried multi-colour block prints of traditional pattachitras as illustrations. In 1975 he took the lead in a collaborative effort, (finally abortive) for starting an art college in Cuttack.

Bibliography

Pathy, Dinanath. 2013. College GadhibAra Bela. Bhubaneswar: Divya Prakashani.

‘Silpi Bibhuti Kanungo: Eka SinghAbalokana’. Rangarekha – Fifth Issue. Edited by Jagdish Chandra Kanungo. A Publication of Orissa Lalit Kala Academy. [The name of the author and the date of publication are not given]

ପାଲି 'ଧର୍ମପଦ'ର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅପ୍ରମାଦ ବର୍ଗ  ୫-୬

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ

ବୋଧିଧର୍ମ
ଫଟୋ କ୍ରେଡ଼ିଟ୍ - ୱିକିମିଡ଼ିଆ କମନସ୍

ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଉଦ୍ୟମ, ଅପ୍ରମାଦ, ସଂଯମ, ଦମ ଧରି

ବୁଦ୍ଧିମାନ ବିରଚିବ  ଦ୍ୱୀପଟି ଏପରି 

ବନ୍ୟା ଭସାଇ ନନେଇ ପାରିବ ଯେପରି ।୫। 

ମୂର୍ଖ ପରମାଦେ ଲିପ୍ତ, ତଥା ଅପ୍ରମାଦେ

ଶ୍ରେଷ୍ଠ ଧନ ପରି ରକ୍ଷା କରନ୍ତି ଯେ ବୁଧେ ।୬।

ମୂଳ ପାଲି ପଦ

ଉଟ୍ଠାନେନ'ପ୍ପମାଦେନ ସଞ୍ଯମେନ ଦମେନ ଚ ।

ଦୀପଂ କୟିରାଥ ମୋଧାବୀ ଯଂ ଓଘୋ ନାଭିକୀରତି ।୫। 

ପମାଦମନୁଯୁଞ୍ଯନ୍ତି ବାଳା ଦୁମ୍ମେେଧିନୋ ଜନା ।

ଅପ୍ପମାଦଞ୍ଚ ମେଧାବୀ ଧନଂ ସେଟ୍ଠଂ'ବ ରକ୍ଖତି ।୬।

ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି । 

The Sitabinjhi Fresco of North Orissa

Ramakanta Samantaray and Sailen Routray

A Photograph of the Sitabinjhi Fresco Taken in 2010 

The Rabanachhaya fresco (17 ft*10 ft) is to be found in the ceiling of a rock shelter in Sitabinjhi in Keonjhar district in north Orissa. This site is located near DanguApAni village on the banks of River Sita and is of great archeological importance. The painting, done in the tempera technique, depicts a royal procession of a King named Disha Bhanja and proceeds from right to left.

The fresco consists of four infantry men, a cavalry man, the king and the mahout sitting on an elephant, and a handmaiden. The royal person holds a goad in his right hand and in his left hand something that looks like a flower. It is painted in a style reminiscent of the Ajanta frescoes. But the ground was not prepared like Ajanta here and the painting was created on a coating of lime. It is interesting to note here that the Sitabinjhi frescoes are very unlike those in Orissa that were painted later.   

By the time B.V. Lal, an official of Archeological Survey of India, started work on the site in 1950, the frescoes had already become quite faded. He chemically treated these and took photographs of the same. In the same year Odia artist Gopal Kanungo brought them to the notice of the then principal of Calcutta Art School and prepared a copy of the said fresco.

Artistic Impression by Gopal Kanungo of the RAbanachhAyA Fresco
(Plate between pages 42-43 of  'KalAra BichAra' by Gopal Kanungo)

The Brahmi script used in an inscription at the bottom of the fresco was deciphered by T. N. Ramachandran and according to him these can be dated to the fourth century AD. Other scholars opine differently and the time of the painting of these may be fixed between fourth and twelfth centuries of the Christian Era.

ଫ୍ରିଡ଼ା ଦାସ ହସ୍‌ୱର୍ଥ୍‌ଙ୍କର ଚିତ୍ର 'କୋଣାର୍କ'

ରମାକାନ୍ତ ସାମନ୍ତରାୟ ଓ ଶୈଲେନ ରାଉତରାୟ

ଫ୍ରିଡ଼ା ଦାସ ହସ୍‌ୱର୍ଥ୍‌  ପ୍ରସିଦ୍ଧ ସମାଜବାଦୀ ନେତା ଓ ସ୍ୱାଧୀନତା ସଙ୍ଗ୍ରାମୀ ସାରଙ୍ଗଧର ଦାସଙ୍କୁ ବାହା ହୋଇ ଓଡ଼ିଶାରେ ବେଶ୍ କିଛି ଦିନ କଟାଇଥିଲେ । 'ଏ ମ୍ୟାରେଜ୍ ଟୁ ଇଣ୍ଡିଆ' (୧୯୩୧) ଏବଂ 'ପର୍ଦ୍ଦା; ଦି ଷ୍ଟାଟସ୍ ଅଫ୍ ଇଣ୍ଡିଆନ୍ ୱିମେନ୍ (୧୯୩୨) ଆଦି ତାଙ୍କର ବହିଗୁଡ଼ିକ ଆମକୁ ସ୍ୱାଧୀନତା ପୂର୍ବବର୍ତ୍ତୀ ଓଡ଼ିଶାର ସାମାଜିକ ଚିତ୍ର ପ୍ରଦାନ କରେ । 

ଲେଖାଲେଖି ଛଡ଼ା ଜଣେ ଚିତ୍ରକର ଭାବରେ ମଧ୍ୟ ତାଙ୍କର ପରିଚିତି ଥିଲା । ୧୯୨୭ ମସିହାରେ ସେ ଆଙ୍କିଥିବା ଗାନ୍ଧୀଜୀଙ୍କର ପୋଟ୍ରେଟ୍ ଏହି ବିଷୟକ ପ୍ରଥମ ଚିତ୍ର ଭିତରୁ ଗୋଟିଏ ।

ଆପଣ ଉପରେ ଦେଖୁଥିବା ଫ୍ରିଡ଼ା ଦାସ (୧୮୮୬-୧୯୭୪)ଙ୍କ ଦ୍ୱାରା ଅଙ୍କିତ 'କୋଣାର୍କ' ଚିତ୍ରଟିର ମାଧ୍ୟମ ତୈଳରଙ୍ଗ । ଶ୍ରୀମତୀ ଦାସ ଓଡ଼ିଶାର ଅନେକଗୁଡ଼ିଏ ମନ୍ଦିରର ଚିତ୍ର ଆଙ୍କିଥିଲେ । ସେଗୁଡ଼ିକ ('କୋଣାର୍କ' ଚିତ୍ର ସହିତ) ପ୍ୟାରିସ ନଗରୀରେ ପ୍ରଦର୍ଶିତ ମଧ୍ୟ ହୋଇଥିଲା । 

ଆମେ ବ୍ୟବହାର କରିଥିବା ଚିତ୍ରଟିର ଏହି ପ୍ରତିଛବିଟି ମାସିକ ପତ୍ରିକା 'ବାରୁଣୀ'ର ପ୍ରଥମ ସଙ୍ଖ୍ୟାରୁ ନିଆଯାଇଛି । ପତ୍ରିକାଟି ରାୟବାହାଦୁର ରାଜକିଶୋର ଦାସଙ୍କ ସମ୍ପାଦନାରେ କଟକରୁ ପ୍ରକାଶିତ ହୋଇଥିଲା । 

୧୯୨୩ ମସିହାରେ ଏହାର ପ୍ରକାଶନ ଆରମ୍ଭ ହୋଇ ସେହି ବର୍ଷ ହିଁ ପାଞ୍ଚଟି ସଙ୍ଖ୍ୟା ଛପା ହେବା ପରେ ବନ୍ଦ ହୋଇଯାଇଥିଲା । ପତ୍ରିକାର ଅଳଙ୍କରଣ ଓ ପରିପାଟୀ ଆକର୍ଷଣୀୟ ଥିଲା ଏବଂ ଏହାର ଦାୟିତ୍ୱ ଚିତ୍ରଶିଳ୍ପୀ ଉପେନ୍ଦ୍ର ଦାସ ସମ୍ଭାଳୁଥିଲେ ।

ବି.ଦ୍ର. - ଆମେ ବ୍ୟବହାର କରିଥିବା 'ବାରୁଣୀ' ପତ୍ରିକାର ସଙ୍ଖ୍ୟାଟି ସୃଜନିକା ସଂସ୍ଥାଙ୍କ ଦ୍ୱାରା ପରିଚାଳିତ 'ଓଡ଼ିଆ ବିଭବ' ୱେବ୍‌ସାଇଟ୍‌ରୁ ପ୍ରାପ୍ତ ହୋଇଛି । ଆମେ ଏଥି ପାଇଁ ତାଙ୍କ ନିକଟରେ କୃତଜ୍ଞ ।

A 19th Century Photograph of the Lingaraj Temple Complex in Bhubaneswar

Ramakanta Samantaray and Sailen Routray

This is perhaps one of the first photographic images of the Lingaraj temple complex by an Indian photographer taken from a vantage point near the Uttareswar Temple. The photographer is the Bengali indologist and historian Rajendra Lal Mitra (1824-1891). 

He was also one the early photography enthusiasts of India. His two volume ‘Antiquities of Orissa’ (published in 1875 and 1880) remains a landmark of architectural history and is still in print. 

The fieldwork for this book took place in 1868-69. The photograph provided above must have been taken during this period of time.