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Painting and Decoding the Exquisite Core of Oriya Literature

Both oral and written forms, such as folktales and manuscripts, may clearly show the invention, evolution, and continuity of Oriya history and linguistics over time. Songs performed at birth, at funerals, at work, and even during festivals have all contributed to keeping the language alive among its spoken forms. Stories shown in prehistoric cave drawings have aided in the preservation of the language in recorded form.

Emperor Kapilendra Deva of the Gajapati SuryaVanshi dynasty was crowned in 1435 A.D., marking the beginning of a love affair with the Oriya language, literature, and culture. Adikabi Sarala Das became Oriya literature’s face amidst Orissa’s social and economic days of glory. Mahabharata, Chandi Purana and Valmiki Ramayana are the seminal works of the great poet in the Oriya language. During the sixteenth century, Oriya Bhakti literature was in vogue. The great saint poets of this era or the Panchasakha were Yasovanta Das, Balaram Das, Jagannath Das, Achyutananda Das, and Ananta Das. The Panchasakhas were highly regarded and constituted a distinctive group that promoted Bhakti as the most effective route to attaining God. They propagated Sanskrit-language religious and spiritual literature in Oriya and had a close reserve of ballads, prayers, and stories in poetry with moral, cultural, and religious overtones that were understandable to ordinary Oriya people. Imaginative and romantic poetry took the next significant position in Oriya literature after Bhakti-Kavyas. These poems were largely influenced by the simple Oriya that Jagannath Das deployed in "Bhagabat." Sisu Sankar, Devadurlava Das, Arjun Das, Kanhai Khuntia, Danai Das, Narasinga Sena, Bishnu Das, Banamali Das, Pratap Ray, Purusottam Das and Kartik Das were the (Kanchikaveri). In 1803 AD, the British invaded Orissa, bearing with them the printing press, English literature, and education. Journals of religion were also published. After 1850, modern Oriya literature began to flourish. The influence of the west may be seen in every facet of Oriya literature. The Oriya writers developed an interest in new genres like play, essays, poetry, and fiction. Elegy, ode, lyric, sonnet, etc. have replaced traditional Oriya poetry.

The Father of Modern Oriya Literature

Fakir Mohan Senapati is regarded as the Father of modern Oriya literature, owing to his excellent authorship in several notable Oriya literary texts. Fakir Mohan Senapati's "Chamana Atha Guntha" (Six Acres and Half), the first complete novel in Oriya, was based on the feudal social structures of the time and had rich character portrayals. The book is a satire on the British legal system. Even now, his literary works are unparalleled. His short story, Rebati talks about was female education, which was a contentious topic. Numerous short stories by Fakirmohan explored the society, metropolitan centers, and village life of Oriya at the time. He represented a potent literary subgenre in Oriya fiction. Radhanath Ray, Madhusudan Rao are some of the other stalwarts of Oriya Literature. 


Q1. How is the Oriya Mahabharata different from the original one?

The Oriya Mahabharata by Sarala Das differed significantly from the original Sanskrit epic and added numerous new elements. It was a challenging translation. Sarla Das has included several historical images of the time's social life, military tactics, etc. into his paintings.

Q2. Who is considered the Father of Oriya Poetry?

Radhanath Ray, an eminent Oriya poet of the late nineteenth century, was crowned the Father of Oriya Poetry.