By Nivedita Daw Dutta
Spirituality is the core of Indian Art—be it music, dance or painting. When we talk about SPIRITUALITY, we talk about the unconditional devotion to the Supreme Being. This spirituality is rooted in the vast expanse of religion. Religions helped to reform the society by preaching few obligations for a healthy and peaceful life. The system of lifestyle followed by a certain sect becomes their nature or Dharma. Religions used various art forms to spread this dogma to common man. In this way it helped in propagating, preserving our century old art forms. From time immemorial art forms blossomed with the support of Religion.
Perhaps Vaishnavism is the most popular branch which not only preached the simple methods of worshipping, but also encouraged all art forms like nritya, sangeet, chitra and sahitya to develop and flourish. The ultimate aim however is to escape from the cycle of birth and death so as to enjoy the presence of Vishnu. This can’t be achieved without HIS grace. So He is not only Upeya (end) but also the Upaya (means to salvation). For this, the devotee cultivates the auxiliary discipline of Karma (the path of good work) and Gyana (Spiritual knowledge).
Vaishnavism and It’s Induction In Orissa (Formerly Odra Desha)
As stated by the notable scholar Sri D N Patnaik in his exhaustive book ODISSI DANCE, the imperial Ganga rulers were at first staunch Shaivites. But since the time of Anantavarma Chodagangadeva (1076-1147 AD) they changed their faith to Vaishnavism. It was Anantavarma who propagated the Jagannath Cult in Utkal. This cult paved the way for the induction of Maharis and devadasis into the rituals of Jagannath temple. He regularised the service of Maharis who were inducted into the Vaishnavite cult. It was King Prataprudra Dev who issued strict orders that only Vaishnava poet Jaydeva’s Geeta Govinda whould be sung in the temple. It should be noted here that the great Vaishnava poet Jaydeva flourished in Odisha during 1th century AD. Jagannath Temple of Puri gave him the perfect refuge where he penned down the classical and lyrical love saga of Krishna and Radha. Jayadeva also known as the Natyacharya, taught the Ashtapadis of Geeta Govinda to his wife Padmavati. It’s said Padmavati was also a devadasi and an accomplished dancer. The Maharis of Jagannath temple faithfully followed Vaishnavism in it’s true sense. They surrender themselves totally at the feet of Lord Jagannath.
Vaishnavism advocates the worship of Lord Vishnu and his incarnations. Different sects of Vaishnavism like 1. Rudra 2. Shree or Baishnava 3. Bramha 4. Sanak or Sankhya and 5. Gaudiya were initiated by Vallabha, Ramanuja, Madhava, Nimbark and Chaitanya respectively who believed in the philosophy of Suddha advaita (pure Monism), Bisista Advaita ( qualified monism), Dvaita (dualism), Dvaitadvaita (dualistic monism) and acintya- bheda bheda (inconceivable duality and nonduality). There are three distinct divisions of Vaishnism– Rama, Krishna and Jagannath Dhara.
Vaishnavas worship Lord as a family member, as a friend, lover, servant or parent. Accordingly they express Madhura, Dasa, Sakhya and Bastyala feelings. They give importance to Santa Rasa but try to experience Madhura, Bhakti and Batsalya as well.
Chaitanya Vaishnavism And Odissi Dance
Chaitanya’s Gaudiya Vaishnavism, based on Prem Bhakti Dhara, perhaps influenced Odissi Dance most. As a result of their sakhi bhava –boy dancers or Gotipuas adorn female costume. The support of Ray Ramanada made the boy dancers to practise dance and music under the strict supervision of an efficient Guru at various akhdas. These Gotipuas preserved the dance and renowned Gurus of today were Gotipuas of yesteryears. Rasa Leela, Prahalad Natak, Pala Daskathia also flourished under the Vaishnavite cult. The Philosophy of Vaishnavism is based on Various tattwa– Ista devata Tattwa, Abatari Tattwa, Bhakti Tatwa, Kshetra Tattwa, Gayatri Tattwa, Rasa Tattwa and Mukti Tatwa. They practise Nabadha Bhakti – Shrabana, Kirtanam, Bishnow Smaranam, Pada Sebanam Archanam, Bandanam, Dasyang, Sakhyam, Atma nibedana. But at the end all tattwa and bhav culminate into Bhakti Bhav.
Literature perhaps blossomed most under the protective umbrella of Vaishnavism. Jayadev, Meera Bai, Sur Das, Chandi Das, Tulasidas, Rupa Goswami wrote various leelas of Lord. Sarala Das, Pancha Sakha, Upendra Bhanja, Baladeva Rath, Gopal Krishna, Banamali, Abhimanyu Samanta Singhar, Baishnava Pani enriched Oriya literature with Chhanda, Champu, Chautisha, Koili. Muslim poet Salbeg and Kabir also contributed songs and Dohas. Pata Paintings, depicting Krishna’s life, are also a contribution of Vaishnava consciousness. The old manuscripts embellished by illustrations are also noteworthy.
(This topic of influence of Vaishnavism on Odissi dance is vast and requires extensive research and understanding. I have tried to give the readers a brief view of the same.)
Nivedita Daw Dutta is a senior disciple of Guru Smt Aloka Kanungo. She is a recipient of National Senior Scholarship from Ministry of Culture, Govt of India and also a journalist with Times of India group.
Dated: 15 December, 2020
