Odia literature
This article needs additional citations for verification. (April 2008) |
This article is part of a series on |
Odisha |
---|
Governance |
Topics |
Divisions |
GI Products |
|
India portal |
Indian literature |
---|
Ancient |
Early Medieval |
Medieval to early Modern |
Odia literature is literature written in the Odia language, mostly from the Indian state of Odisha. The modern Odia language is mostly formed from Tadbhava words with significant Sanskrit (Tatsama) influences, along with loanwords from Desaja, English, Hindustani (Hindi/Urdu), Persian, and Arabic. Its earliest written texts date from around 1000 CE. The earliest Odia newspaper was Utkala Deepika, first published on August 4, 1866.
Historians have divided Odia literature into five main stages: Old Odia (800 AD to 1300 AD), Early Medieval Odia (1300 AD to 1500 AD), Medieval Odia (1500 AD to 1700 AD), Late Medieval Odia (1700 AD to 1850 AD) and Modern Odia (1870 AD to present). Further subdivisions, as seen below, more precisely chart the language's development.
4th century BC
The creativity and development of the Odia language and literature can be seen in its spoken forms, such as folk tales, and in written forms, such as rock edicts and manuscripts. Songs sung to memorialize birth, death, work, and festivals helped to preserve the language in its oral form, passing it through the generations. Stories depicted in cave paintings preserved the language in the written form.[clarification needed]
Kharavela's Hatigumpha inscription serves as evidence of past Odia cultural, political, ritual, and social status, and is the first poetic stake inscription. Though Ashoka had created rock edicts and inscriptions before Kharavela, his instructions for administration were written in a rude and choked style. However, the Hatigumpha inscription shows the language's flexibility and flow.
The main feature of this inscription is based on principles of Sanskrit poetic structure, such as:
Sadvanshah kshyatriya bâ pi dhiirodâttah gunanwitâh I
Ekabanshodva bhupâhâ kulajâ bahabo pi Jâ II
Shrungarabirashantânâmekoangirasa ishyate I
Angâni sarbe<pi rasâha sarbe nâtakasandhyâhâ II
Itihâsodvabam bruttamânânyad bâ sajjanâshrayam I
Chatwarastasya bargahâ syusteshwekam cha phalam bhavet II
Aâdyu namaskriyashribâ bastunirddesha eba bâ I
Kwacinnindâ khalâdinâm satâm cha gunakirttinam II
(Sâhitya darpan- Biswanâth kabirâj)
When the Hatigumpha Inscription was created, its principles had been traced before. They were followed by
Age of Charya literature (7th to 8th centuries CE)
The beginnings of Odia poetry coincide with the development of
Your hut stands outside the city
Oh, untouchable maid
The bald Brahmin passes sneaking close by
Oh, my maid, I would make you my companion
Kanha is a kapali, a yogi
He is naked and has no disgust
There is a lotus with sixty-four petals
Upon that the maid will climb with this poor self and dance.
This poet used images and symbols from the social milieu/collective psychology so that deep realization could be grasped by readers. This kind of poetry, full of the mystery of tantra, spread throughout northeastern India from the 10th to the 14th centuries, and its style of expression was revived by the Odia poets of the 16th to the 19th centuries.
Pre-Sarala Age (12th to 14th centuries)
In the pre-Sarala period, Natha and Siddha literature flourished. The main works of this period are Shishu veda (an anthology of 24 dohas), Amara Kosha and Gorakha Samhita. Shishu veda is mentioned in the works of
Rudrasudhanidhi is considered the first work of Odia prose, written by Abhadutta Narayan Swami.[12][13]
Markanda Das composed the first Koili (an ode to a cuckoo) in Odia just before Sarala Das. His composition Kesava Koili describes the pain of separation of Yasoda from her son Krishna.[14][15][16][17] He is known to have composed the epic Daasagriba badha, Jnaanodaya koili.[8]
Sarala Dasa
In the 15th century,
This was not an exact translation from the Sanskrit original, but rather an imitation. It can be seen as an original work. Sarala Das was given the title Shudramuni(Peasant-sage). He had no formal education and did not know Sanskrit.This translation provided subsequent poets with the necessary foundation for a national literature, providing a fairly accurate idea of the Odia culture at the time. Dasa, born in 15th century Odisha under
Arjuna Dasa, a contemporary of Sarala-Das, wrote Rama-Bibaha(ରାମ ବିବାହ), which is a significant long poem in Odia. He is the author of Kalpalata (କଳ୍ପଲତା).[29]
Panchasakhas
Five notable Odia poets emerged during the late 15th and early 16th centuries:
The Panchasakhas were Vaishnavas by faith. In 1509,
The Panchasakhas were significant because of their poetry and their spiritual legacy. In the holy land of Kalinga (Odisha) saints, mystics, and devotional souls were born, fortifying its culture and spiritualism. The area uniquely includes temples of
The origin of the Panchasakhas were described in Achyutananda's Shunya Samhita. As per his narration, towards the end of
Balaram Das's
The most influential work of this period was
Shishu Ananta Das was born in Balipatana near Bhubaneswar in the late 15th century. He wrote Bhakti mukti daya gita, Sisu Deva gita, Artha tarani, Udebhakara, Tirabhakana, a Malika and several bhajan poetries.[32]
Yashobanta Das was the composer of Govinda Chandra (a ballad or Gatha- Sangeeta), Premabhakti, Brahma Gita, Shiva Swarodaya, Sasti mala, Brahma gita, Atma pariche gita, a Malika and several bhajans.[32][33][34]
The Panchasakha's individual characteristics are described as follows (in Odia and English):
Agamya bhâba jânee Yasovanta
Gâra katâ Yantra jânee Ananta
Âgata Nâgata Achyuta bhane
Balarâma Dâsa tatwa bakhâne
Bhaktira bhâba jâne Jagannâtha
Panchasakhaa e
mora pancha mahanta.
Yasovanta knows the things beyond reach
Yantras uses lines and figures known to Ananta
Achyuta speaks the past, present and future
Balarama Dasa is fluent in tatwa (the ultimate meaning of anything)
Ultimate feelings of devotion are known to Jagannatha
These five friends are my five mahantas.
During the Panchasakha era another seer, Raghu Arakhsita, who was not part of the Panchasakhas but was a revered saint, composed several padabalis in Odia.[38][39] The Panchasakha and Arakhshita together are known as the Sada-Goswami (six Lords).
Madhavi Pattanayak or Madhavi Dasi is considered as the first Odia woman poet who was a contemporary of Prataprudra Deva and wrote several devotional poems for Lord Jagannatha.[40][41][42][43]
Riti Juga (16th to mid 17th centuries)
Several kaalpanika (imaginative) and pauraanika (
Several Chautishas (a form of Odia poetry where 34 stanzas from "ka" to "Khsya" are placed at the start of each composition) were composed during this time. The best known are Milana Chautisha, Mandakini Chautisha, Barshabharana Chautisha, Rasakulya Chautisha, and Manobodha Chautisha.[28][47][50][51]
Muslim poet Salabega was a devotional poet who composed several poems dedicated to Lord Jagannath during Jahangir's reign in the 17th century.[52][53]
Age of Upendra Bhanja
After the Panchasakhas, prominent works included the Usabhilasa of Sisu Sankara Das, the Rahasya-manjari of Deva-durlabha Dasa and the Rukmini-bibha of Karttika Das. A new form of novels in verse evolved at the beginning of the 17th century when Ramachandra Pattanayaka wrote Haravali. The prominent poets, however, are Dhananjaya Bhanja (born 1611. AD),
Upendra Bhanja's works such as Baidehisha Bilasa, Koti Brahmanda Sundari and Labanyabati are landmarks. He was conferred the title "Kabi Samrat" of Odia literature for his poetic sense and skill with words. He wrote 52 books, of which only 25–26 survive. He contributed more than 35,000 words to Odia literature and is considered the greatest poet of Riti Juga.[55][56][57][58]
Poet Dhananjaya Bhanja (1611–1701),[59] was also king of Ghumusar and grandfather of Upendra Bhanja, wrote several kavyas including Anangarekha, Ichaavati, Raghunatha Bilasa, and Madana Manjari. Besides Tribikrama Bhanja (author of Kanakalata)[60] and Ghana Bhanja (author of Trailokyamohini, Rasanidhi, and Govinda Bilasha)[61] of the Bhanja royal family also enriched Odia Literature.[6][29] Lokanatha Vidyadhara, a contemporary of Upendra Bhanja, wrote Sarbanga Sundari.
A new form of poetry called Bandha kabita started, where the poem was written within the bandha or frame of a picture. Upendra Bhanja pioneered this pictorial poetry. His Chitrakavya Bandhodaya is the first such creation, containing 84 pictorial poems. Poets in this tradition include Sadananda Kabisurya Bramha (Lalita Lochana and Prema Kalpalata), Tribikrama Bhanja (Kanakalata), Kesabaraja Harichandana (Rasa Sindhu Sulakhshyana).[60]
Late Riti Juga[64][65]
Towards the end of Riti Yuga, four major poets emerged.
Bichitra Ramayana of Biswanaath Khuntia was composed in the early 18th century. Pitambar Das wrote the epic Narasingha Purana in seven parts called Ratnakaras then.[68][69][70] Maguni Pattanaik composed Rama Chandra Vihara.[71] Rama Lila was composed by Vaishya Sadashiva and Ananga Narendra. Bhima Bhoi, the blind poet born in a tribal Khondh family is known for his compositions Stuticintamani, Bramha Nirupana Gita, Shrutinishedha Gita. The other major poets at this time were Banamali Dasa, Jadumani Mahapatra, Bhaktacharan Das (author of Manabodha Chautisha and Mathura Mangala), Haribandhu, Gaurahari, Gauracharana, and Krishna Simha.[47][72][73]
Age of Radhanath
The first Odia magazine, Bodha Dayini was published in Balasore in 1861. Its goal was to promote Odia literature and critique government policy. The first Odia newspaper The Utkala Deepika, launched in 1866 under editors Gourishankar Ray and Bichitrananda. Utkal Deepika campaigned to bring all Odia-speaking areas under one administration, to develop Odia language and literature and to protect Odia interests.
In 1869 Bhagavati Charan Das started another newspaper, Utkal Subhakari, to propagate the Brahmo faith. In the last three and a half decades of the 19th century, more Odia newspapers launched. Prominent examples included Utkal Deepika, Utkal Patra, Utkal Hiteisini from Cuttack, Utkal Darpan and Sambada Vahika from Balasore and Sambalpur Hiteisini from Deogarh. These periodicals encouraged modern literature and offered a broad audience for Odia writers.
Other eminent Odia writers and poets of the time include Gangadhar Meher (1862–1924), Madhusudan Rao, Chintamani Mohanty, Nanda Kishore Bal (1875-1928) Gourishankar Ray (1838-1917) and Reba Ray (1876-1957).
Age of Satyabadi
During the age of Radhanath the literary world was divided between the classicists, led by the magazine The Indradhanu, and the modernists, led by the magazine Bijuli. Gopabandhu Das (1877–1928) was a great balancer and realized that a nation, as well as its literature, lives by its traditions. He believed that a modern national superstructure could only endure if based on solid historical foundations. He wrote a satirical poem in The Indradhanu, which led to punishment by the Inspector of Schools, but he refused to apologise.
As freedom movements began, a new era in literary thought emerged influenced by Mahatma Gandhi and nationalism. Gopabandhu was a large part of this idealistic movement, founding a school in Satyabadi and influencing many writers. Other famous writers included Godabarisha Mishra, Nilakantha Dash, Harihara Acharya, and Krupasinshu. They are known as 'Panchasakhas' for their similarities with the historical Age of Panchasakhas. Their principle genres were criticism, essays and poetry.
Chintamani Das is particularly renowned. He was born in 1903 in Sriramachandrapur village near Sakhigopal. He was bestowed with the Sahitya Akademi Samman in 1970 for his contributions. Some of his well-known literary works are Manishi Nilakantha, Bhala Manisa Hua, Usha, Barabati, Byasakabi Fakiramohan and Kabi Godabarisha.
Age of Romanticism or Sabuja Yuga
During the 1930s Odia literature was Influenced by the romantic thoughts of Rabindranath Tagore and progressive Marxist movements. Kalindi Charan Panigrahi (the brother of Bhagabati Charan Panigrahi who founded Marxism in Odisha) formed a group called "Sabuja Samiti" with two of his writer friends Annada Shankar Ray and Baikuntha Patnaik. This was a short period in Odia literature, later folded into Gandhian and Marxist work. Kalindi Charan Panigrahi later wrote his famous novel Matira Manisha, which was influenced by Gandhism, and Annada Shankar Ray left for Bengali literature. Mayadhar Mansingh was a renowned poet of that time, but though he was considered a Romantic poet he kept his distance from the influence of Rabindranath.
Pragati Yuga
Nabajuga Sahitya Sansad, formed in 1935, was one of India's first progressive literary organizations, contemporaneous to other progressive writers' movements. The founders of the Progressive Movement in Odisha were Nabakrushna Choudhury, Bhagabati Panigrahi and Ananta Patnaik. At the inaugural session of Nabajuga Sahitya Sansad, freedom fighter Malati Choudhury sang "Nabeena Jugara Taruna Jagare" written by Ananta Patnaik. Nabajuga Sahity Sansad published Adhunika, the first progressive literary magazine in Odia. Adhuinka was conceived, initiated, edited, published and nurtured by Bhagabati Charan Panigrahi and Ananta Patnaik. Many writers of that time wrote in Adhunika.[74][75]
Modern age
Purnachandra Odia Bhashakosha
The Purnachandra Odia Bhashakosha is a 7-volume Odia dictionary/encyclopedia of about 9,500 pages published between 1930 and 1940. It was compiled by
It lists some 185,000 words and their meanings in four languages – Odia, English, Hindi and Bengali. It includes quotations from classical works illustrating the usage of various words. It includes information such as botanical names of local plants, information on astronomy and long articles on various topics of local interest. It also includes biographies of personalities connected with Odisha's history and culture.
Purnachandra Odia Bhashakosha touches on many aspects of Odia and Odisha, as well as many topics of general interest. Its author was a lawyer by profession and was ridiculed and reviled during production. Many printed copies were destroyed unbound and unsold. Many copies sat in libraries of princes who had patronised the work. Most of these copies were sold cheaply when the princes met financial straits. Few copies survive, and those that exist are fragile and worm-damaged.
Poetry
This section may contain embedded lists. by removing items or incorporating them into the text of the article. (June 2021) |
As the successors of Sachi Routray, the father of modern Odia poetry,
The early 1980s introduced poets with new thoughts and styles. They mixed Odia heritage and culture with the feelings of common people. They were somehow nearer to the readers as they avoided ambiguity in their expression.
Fiction
Before the 1970s
In the post-independence era Odia fiction took a new direction. The trend that Fakir Mohan started grew after independence, led by Gopinath Mohanty (1914–1991), Surendra Mohanty and Manoj Das (1934–2021 ). These authors pioneered the trend of developing or projecting the "individual as protagonist" in Odia fiction. Eminent feminist writer and critic Sarojini Sahoo believes that Surendra Mohanty's "Ruti O Chandra" should be considered the first story of the individualistic approach, rather than Gopinath's story "Dan".[77] The major difference between the two is that Gopinath is more optimistic while Surendra is nihilistic. This nihilism prepared the ground for an existentialist movement in Odia literature.
Surendra Mohanty's short story collections and novels include Krushna Chuda, Mahanagarira Rati, Ruti O Chandra, Maralara Mrutyu, Shesha Kabita, Dura Simanta, Oh Calcutta, Kabi-O- Nartaki, Sabuja Patra-O-Dhusara Golap, Nila Shaila and Andha Diganta.
In his fiction
Kalpanakumari Devi's sequence of novels, in particular, her Srushti o pralaya (1959), documented social change in the country.[78]
Starting his literary career as a communist and later becoming an Aurobindian philosopher, Manoj Das wrote in Odia and English. His major Odia works are: Shesha Basantara Chithi (1966), Manoj Dasanka Katha O Kahani (1971), Dhumabha Diganta (1971), Manojpancabimsati (1977) and Tuma Gam O Anyanya Kabita (1992). Notable English works include The crocodile's lady : a collection of stories (1975), The submerged valley and other stories, Farewell to a ghost : short stories and a novelette (1994), Cyclones (1987) and A tiger at twilight (1991).
Ananta Charan Sukla's short story collection, Sulataku Sesa Chitthi (Last Letter to Sulata) was published in 1965. The ten stories included in this book are "Sulataku Sesa Chitthi", "Kapilas", "Janeika Kulapati-nka Mrutyu", "Tandril Ru Tornoto", "Mystic Realistic", "Prasanta Samudra: Asanta Lahari", "Nalakula Matha, Nepala Babu O Narana", "Daudana Bada Khara", "Duragata" and "Sandipani-ra Symphony".
Other significant pre-1970s fiction writers are Bama Charan Mitra, Chandrasekhar Rath, Shantanu Kumar Acharya, Mohapatra Nilamani Sahoo, Akhil Mohan Patnaik, Gobind Das, Rabi Patnaik and Jagannath Prasad Das. Chandra Sekhar Rath's novel Jantrarudha is a classic of this period. Shantanu Acharya's novel Nara-Kinnara was also influential.
After the 1970s
In the 1960s a small magazine Uan Neo Lu in Cuttack, challenged these authors' approaches. The title of the magazine was made up of three unused Odia alphabets. Writers associated with the magazine included Annada Prasad Ray, Guru Mohanty, Kailash Lenka, and Akshyay Mohanty. These writers began a revolution in Odia fiction. They introduced sexuality in their work and created a new prose style. In the late 1960s many "groups" of writers emerged from different parts of Odisha. Anamas from Puri, Abadhutas from Balugaon, Panchamukhi from Balangir, Abujha from Berhampur and Akshara group from Sambalpur created a sensation.
Changes that started in the 1960s were confirmed in the next decade by authors such as Jagadish Mohanty, Kanheilal Das, Satya Mishra, Ramchandra Behera, Tarun Kanti Mishra, Padmaja Pal, Yashodhara Mishra and Sarojini Sahoo. Kanheilal Das and Jagadish Mohanty began creating a style popular among a general audience as well as intellectuals. Jagadish Mohanty introduced existentialism to Odia literature. His works include Ekaki Ashwarohi, Dakshina Duari Ghara, Album, Dipahara Dekhinathiba Lokotie, Nian O Anyanya Galpo, Mephestophelesera Pruthibi, Nija Nija Panipatha, Kanishka Kanishka, Uttaradhikar, and Adrushya Sakal.
Ramchandra Behera is known for short story collections Dwitiya Shmashana, Abashishta Ayusha, Omkara Dhwani, Bhagnangshara Swapna and Achinha Pruthibi. Padmaj Pal is known for short story collections, including Eaglera Nakha Danta, Sabuthu Sundar Pakshi, Jibanamaya and Uttara Purusha. Tarun Kanti Mishra emerged during the 1970s as a powerful storyteller with an elegant style, full of poise and vigor. His outstanding works include Sharadah Shatam ( A Thousand Autumns), – a novel dealing with resettlement and rehabilitation of displaced persons from East Pakistan, now Bangladesh—and anthologies of short stories such as Komal Gandhar, Bitansa, Bhaswati and Akash Setu.
Sarojini Sahoo, who became known as a feminist writer, contributed to Odia fiction. Her novel Gambhiri Ghara is a landmark, that gained international recognition for its feminist and liberal ideas. Her other works include Amrutara Pratikshare, Chowkatha, Upanibesh, Pratibandi, Paksibasa, Tarlijauthiba Durga, Dukha Apramita, Gambhiri Ghara and Mahajatra. Kanaklata Hati, another women fiction writer whose writing featured psychoanalysis of the female mind. To date she published two-story collections, Nirbak Pahada and Kuhudi Ghara. Her story collections Galpa Galpantara and Praibeshi Galpa were translated.
Popular fiction
A popular Odia literature emerged in the 1970s, particularly read by rural women. The best selling writers are Bhagirathi Das, Kanduri Das, Bhagwana Das, Bibhuti Patnaik and Pratibha Ray. Some of their works were made into Odia films. In recent times Rabi Kaunungo, Tarun Kanti Mishra, Ajay Swain, Mrinal Chatterjee, Radhu Mishra, Dr Laxmikant Tripathy, Nisith Bose, Suniti Mund, Anjan Chand and Dr. Kulangara contributed to popular writing.
Women writers
Women's magazine Sucharita was founded in 1975 by Sakuntala Panda. It had a significant impact in helping female writers find an audience.[citation needed] Its writers include Giribala Mohanty, Jayanti Rath, Susmita Bagchi. Paramita Satpathy, Hiranmayee Mishra, Chirashree Indra Singh, Sairindhree Sahoo, Supriya Panda, Gayatri Saraf, Suniti Mund and Mamatamay. Chowdhry. Giribala Mohanty (1947–) is noted for her deep sensitiveness for women's issues. Her poems depict the binary of women's social apathy and self-confidence. Her collections of poems include Streeloka (Women), Kalijhia (The Dark complexion Girl), Ma Habara Dukha (The sorrow of being a mother) and Kati Katia Katyayani. Sahoo had a significant influence on these women. Sahoo claims that women are an "Other" from the masculine perspective, but that they are entitled to equal human rights according to Plato. Suniti Mund's story book Anustupa, poetry book Jhia and novels Abhisapta, Agarbatira Ghara, Matrimony dot com and Gigolo also present a feminist voice.
Drama
The traditional Odia theater is the folk opera, or
Science fiction
Popular science fiction writers include
Odia and world literature
Odia translation of classics
The first foreign book to be translated into Odia was the
Translation of Odia works into world languages
Translation of Odia literature into other world languages is mostly into English. The most well known translations are Fakir Mohan's novels Six Acres and Half by Rabi Shankar Mishra, Lachhama by Chandan Das and The Penance by
Odia in United States of America
An initiative, Pratishruti, was started to connect literary minded people in North America with their Indian peers. The goal is to expose Indian-Americans to the best writings of Odia writers as well as to cultivate new Odia writers in America.
Black Eagle Books, a non-profit publishing initiative was started in April 2019 to propagate Odia literature globally through publication and translation projects. To encourage new writers, Black Eagle Books started "Black Eagle Books First Book Award". The award for 2019 was given to Niharika Mallick for her translation anthology of contemporary Hindi short stories in Odia, Adhunika Hindi Galpamala.
See also
- Abolakara
- Indian literature
- Indian poetry
- John Beames
- Laxmi Puran
- Madala Panji
- Rebati
- Six Acres and a Third
- Utkala Bhramanam
- Dalit literature#Dalit literature in Odia
References
- ISBN 9788175861985.
- ^ Mukherjee, Prabhat. The History of medieval Vaishnavism in Odisha. Chapter: The Sidhacharyas in Odisha Page 55.
- ISBN 9788190343800.
- ISBN 9788170172482.
- ^ Shipley, Joseph Twadell (1 January 1946). Encyclopedia of literature. Philosophical Library.
- ^ ISBN 9788126003655.
- ISBN 978-81-7022-374-0.
- ^ a b c "History of Oriya Literature". Archived from the original on 8 July 2012. Retrieved 15 November 2015.
- ^ Orissa Review
- ^ B. C. Ray; Bhabānī Caraṇa Rāẏa (1981). Orissa Under the Mughals: From Akbar to Alivardi : a Fascinating Study of the Socio-economic and Cultural History of Orissa. Punthi Pustak.
- ISBN 978-81-210-0179-3.
- ISBN 9788170992615.
- ISBN 9788170992615.
- ISBN 978-81-7017-248-2.
- ISBN 978-81-260-2171-0.
- ISBN 978-81-8475-793-4.
- ISBN 978-81-903438-0-0.
- ISBN 978-9027216793.
- ^ Yadava, J. S.; Gautam, Vinayshil (1980). "The Communication of Ideas".
- ISBN 9788126011940.
- ^ a b "Indian Literature". 1988.
- ^ Das, Manmath Nath (1977). "Sidelights on History and Culture of Orissa".
- ^ "The Orissa Historical Research Journal". 2004.
- ^ (India), Orissa (1966). "Orissa District Gazetteers: Ganjam".
- ISBN 9788187661528.
- ^ Mansinha, Mayadhar (1962). "History of Oriya literature".
- ISBN 9788170992615.
- ^ a b Prachina_Odia_Kabita
- ^ ISBN 9788126018031.
- ISBN 978-1-317-40880-2.
- ^ "Balarama Das". Puriwaves. 4 December 2021.
- ^ a b c d Orissa Review July 2014
- ^ "Odia Poets & their creations". Archived from the original on 23 November 2015. Retrieved 2 November 2015.
- ISBN 978-81-260-1803-1.
- ISBN 978-81-260-0365-5.
- ^ Indian Literature. Prabhat Prakashan. 1988. p. 449.
- ^ "Achyutananda Das". PURIWAVES. 11 August 2013.
- ISBN 978-81-260-1194-0.
- ISBN 978-81-260-0365-5.
- ISBN 9788172014490.
- ^ ISBN 9788126011940.
- ISBN 9788120825468.
- ^ Das, Harish Chandra; Samsad, State Level Vyasakabi Fakir Mohan Smruti (1 January 2003). The cultural heritage of Khurda. State Level Vyasakabi Fakir Mohan Smruti Samsad.
- ^ (India), Orissa (1966). "Orissa District Gazetteers: Kalahandi".
- ISBN 978-81-260-0365-5.
- ISBN 9788172010065.
- ^ a b c d "History of Oriya Literature (Odia Literature) - Important India". Important India. Retrieved 1 November 2015.
- ^ Orissa Review May 2007
- ^ Indian Literature. Prabhat Prakashan. 1 January 1988.
- ISBN 9788126011940.
- ^ Rāẏa, Bhabānī Caraṇa (1981). "Orissa Under the Mughals".
- ^ Orissa Review June 2007
- ISBN 9789380213224.
- ISBN 9788126018031.
- ^ S.manoharan (15 January 2012). "Biography of Kavi Samrat Upendra Bhanja – A great Oriya Poet". OrissaSpider.com.
- ^ Brahma, Gouri Kumar (2006). "The Greatness of Upendra Bhanja".
- ISBN 9788126018031.
- ISBN 9788125014539.
- ISBN 9788125014539.
- ^ ISBN 9788126018031.
- ISBN 9788126018031.
- ^ "ABHIMNYU SAMANTA SINGHARA".
- ISBN 9788126018031.
- ISBN 9788172013240.
- ISBN 9788172014490.
- ^ "Chitra Pothi : Illustrated Palm Leaf Manuscripts from ..., Gurgaon".
- ISBN 9780520080652.
- ^ Mohanty, Janaki Ballabha (1988). "An Approach to Oriya Literature".
- ISBN 9788126011940.
- ISBN 9788126003655.
- ISBN 9788126003655.
- ^ "BHAKTACHARAN DAS (1729 - 1813) ~ ଆମଓଡିଶାର.com". www.amoodishara.com. Retrieved 1 November 2015.
- ^ BKP SBCD Monobodha Chautisa
- ISBN 978-81-250-2007-3. Retrieved 10 April 2020.
- ISBN 978-81-7201-324-0. Retrieved 10 April 2020.
- ^ "CHECK: Odia Poet (Odia Love Shayari and Odia Sad Shayari Images Online)". Odiasayari.com. Retrieved 18 June 2021.
- ^ Istahar-92, (26th Volume, 2nd Issue),
- ^ Namita Panda (31 December 2011). "Furore over award to Kalpanakumari". The Telegraph. Archived from the original on 5 January 2016.
- ISSN 0972-8740. Retrieved 31 January 2022.
- ISSN 2321-8274. Retrieved 31 January 2022.
- ^ "Translation of World Literature - Alice in Wonderland in Odia". The Telegraph. 7 September 2016. Retrieved 31 January 2022.
- ^ "Eight Odia Books in Translation". Huff Post. 1 March 2020. Retrieved 31 January 2022.
Bibliography
- Neukom, Lukas and Manideepa Patnaik. 2003. A grammar of Oriya. (Arbeiten des Seminars für Allgemeine Sprachwissenschaft; 17). Zürich: Seminar für Allgemeine Sprachwissenschaft der Universität Zürich. ISBN 3-9521010-9-5
- Mansingha, Mayadhar (1962) History of Oriya literature Sahitya Akademi, New Delhi
- Sahoo, Krushna Charan (2004) Oriya Lekhaka Paricaya Orissa Sahitya Academy, Bhubaneswar, ISBN 978-81-7586-097-1
- Myers, Carol Fairbanks (1976) Women in Literature: Criticism of the Seventies Scarecrow Press, Inc. Metuchen, ISBN 0-8108-0885-4
- "The History of Orissa: An Introduction"Pages from the history of India and the sub-continent:SOUTH ASIAN HISTORY
- Sahoo, Dr. Basanta Kishore Sahoo (1995) Who's who in Oriya Children's – Literature, Vol. I&II Mayur Publication and RIOCL, ISBN 8186040447
Further reading
- Ghosh, A. (2003). An ethnolinguistic profile of Eastern India: a case of South Orissa. Burdwan: Dept. of Bengali (D.S.A.), University of Burdwan.
- Mahapatra, Khageswar (2010). Odia Landscape & Literary Efflorescence. Bhubaneswar: Trupti. ISBN 978-93-80758-06-0.
- Masica, Colin (1991). The Indo-Aryan Languages. Cambridge Language Surveys. Cambridge: Cambridge University Press. ISBN 978-0-521-29944-2
- Mohanty, Prasanna Kumar (2007). The History of: History of Oriya Literature (Oriya Sahityara Adya Aitihasika Gana).
- Folklore collections
- Mohanty, Shanti (1960). Folk Tales Of Orissa. Sterling Publishers.
- Mohanti, Prafulla (1975). Indian Village Tales. Davis-Poynter. ISBN 9780706701838.
- Dutta Gupta, Upendra Narayan (1975) [1922]. Folk Tales of Orissa. Bhubaneswar: G. Gupta.
- Dash, Kunja Behari (1979). Folklore of Orissa. Orissa Sahitya Akademi.