Image title: Art and Craft gallery (Introduction)

Art and Craft gallery, Odisha state museum—Odisha has a rich and unique heritage of art tradition beginning from the sophisticated ornate temple architecture and sculpture to folk arts manifested in different forms. The people of Odisha while following the broader Indian traditions tried to develop their own style and characteristic which show their creativity.

Art in Odisha as elsewhere in India was inspired by religion and the spread of Jainism, Buddhism, Shaivism and Vaishnavism etc. gave ample scope to the Odisha artists to make their hands willing tools in the course of religion such as the caves, temples, stupas, viharas etc. bear testimony to the artistic richness of the land. From the rock-cut elephant figure at Dhauli, the earliest available sculpture of Odisha to the present day artistic works religion and art are still two important motivating factors which have played significant role in the efflorescence of Odishan art, While religion represents the inner devotion of man art inspired the creativeness.

Skill, elegance, ornamentation revealing in lovely forms, intense sensitivity, profuse elaboration, search for novelty and romanticism are the hall mark of Odishan art which flourished at different period.

The artisans of Odisha produce a large variety of handicrafts of unmatchable quality and incomparable beauty. The important crafts of the State which have glorified our tradition and the Culture are applique work of Pipili more particularly its garden umbrella and canopies, pattachitra and paper machie of Puri, Silver Filigree Jewellery and golden grass mats of Cuttack, tie and dye sarees of Sambalpur and Nuapatana of Cuttack. Dhokras and Clay toys of Dhenkanal and Mayurbhanj, Keonjhar, horn work of Cuttack and Paralakhemundi, flexible brass fish of Ganjam, lacquered work of Nawaragpur, sonte and wood carving of Lalitgiri, Puri and Bhubaneswar, Bell metal of Balakati, Kantilo and Ganjam.

The artisans of the State have shown unique distinction and proficiency in production of crafts, in carving, paintings and weavings. The design, colours and forms applied in the handicrafts represent gradual evolution on art through the disciplined effort of generation of craftsmen.

Introduction—In Odisha life is art and art is life. Every inch of Odisha reveals the glimpse of its rich artistic tradition.

The mural paintings in Odisha begin with the prehistoric rock paintings as found in Manikmoda and Ushakothi (Sundergarh District), Gudahandi & Yogimath (Kalahandi District), Ulapgarh & Bikramkhol (Sambalpur District). The tradition of mural paintings shall continue mostly as ritualistic wall paintings in rural areas also in temples and mathas in Odisha.

The mural paintings of the ceiling of a rock shelter called Ravana Chhaya at Sitabinji in the district of Keonjhar is generally attributed to 6th century A.D.

The oldest record of patta paintings does not probably go beyond the establishment of the present shrine of Jagannath at Puri. The patta paintings of Odisha depict a compromise between folk and classical elements with leanings more to folk forms.
The illustrated manuscripts of Odisha form another very brilliant and important chapter of the history of pictorial etc.
Jhoti is an important branch and most celebrated form of folk art. No domestic function, Vrata, Osha, thread and marriage ceremony can be observed without folk decorations.

Wooden toys are done all over Odisha. The horse, the elephant, the elephant with the rider, a wheeled cart, Gajasimha, men and women are generally made out of Gambhari wood.

Similarly clay toys and materials of daily use are found all over the State. The Dhokra craft is though tribal in character but very fascinating. After making the basic form in clay and works the craftsmen used to decorate them with metal bands.

Elephants, horses, lamps, Gajalakshmi, lamp stand with elephants, betel box, ordinary box and different gods goddesses are all done with folk forms which have not undergone any change.

The bewitching lacquer works of Nawarangpur in the district of Koraput are made exclusively by female artisans, known as Shankharies or bangle workers. Ornaments, bangles, studded with mirrors, toys, toys crafts, fruits, etc. are preferred. In all these items the basic shape of bamboo, clay, wood etc. are given multi colour and artistic lac finish which make them charming and presentable with folk motifs of fish, flowers, animals, birds etc. executed on them.

Paper machie is flourishing craft in Puri and Jaypore in Koraput District. Out the paper pulp they cast elephant, tiger, bear, deer, parrot, monkey, tortoise with holding heads and limbs. Besides these, masks of mythological characters are also made by these artisan for village theaters and decorative purposes.

Applique work closely associated with festivities and ceremonies has now elaborated its scope from temples to drawing rooms. With brilliant colour patches in squares, circles and triangles the applique works create fantasies in colours. The artisans prepare canopies, trasas, chhatris, bags, modern umbrellas etc. putting coloured cloths by shaping into parrots, peacocks, elephants, bulls, horses, deers, fishes and purnakumbhas etc. and stick them in cloths background to perform harmonious and attractive patterns. The colours used are mostly red, black, yellow and white.

The textiles of Odisha are famous for their rich variety of designs, bold and unusual patterns, vibrant yet subtle blending of colours, the unique tie and dye effect and a luxuriant feeling of texture. The majority of textile weavers are spread over the districts of Suvarnapur, Bolangir, Sundergarh, Baragarh and Sambalpur etc.

Transcription (not proofread):

ଚାରୁ ଓ କାରୁକଳା ଗ୍ୟାଲେରୀ ଓଡିଶା ରାଜ୍ୟ ସଂଗ୍ରହାଳୟ—ଭାରତର ଶହ ଶହ ବର୍ଷର ପ୍ରାଚୀନ ନଭଶ୍ଚୁମ୍ବୀ ମନ୍ଦିରଠାରୁ ଆରମ୍ଭ କରି ସାଧାରଣ ଜନଜୀବନରେ ଓଡିଶାର ପ୍ରସିଦ୍ଧ କଳାର ସ୍ୱାକ୍ଷର ଲିପିବଦ୍ଧ । । ମହାନ୍ କଳା ପରମ୍ପରାର ପ୍ରବାହରୁ ବିଚ୍ଛିନ୍ନ ନହେଲେ ହେଁ ଭାରତୀୟ କଳାରେ ଏ ମାଟିର ଶିଳ୍ପୀମାନଙ୍କର ନିଜସ୍ବ ରୁଚି, ଶିଳ୍ପବୋଧ ପ୍ରତିଫଳିତ ।

ଭାରତର ଅନ୍ୟ ସ୍ଥାନମାନଙ୍କ ପରି ଓଡିଶାରେ ଧର୍ମର ପ୍ରଚାର ସହ କଳାର ସଂପୃକ୍ତିକୁ ଅସ୍ୱୀକାର କରିହେବନାହିଁ । ଜୈନ ଧର୍ମ, ବୌଦ୍ଧ ଧର୍ମ, ଶୈବ, ବୈଷ୍ଣବ ଓ ଶାକ୍ତ ଧର୍ମମତର ବିକାଶ ସହ ତାଳ ଦେଇ ଉତ୍କଳର ଶିଳ୍ପୀମାନେ ଗୁମ୍ଫା, ମନ୍ଦିର, ସ୍ତୂପ–ବିହାରମାନଙ୍କରେ ନିଜର କଳା ଚାତୁର୍ଯ୍ୟକୁ ପ୍ରସ୍ଫୁଟିତ କରିଛନ୍ତି ।

ଧଉଳିର ଶିଳାରୁ ଉତ୍ଥୁତ ହସ୍ତୀ ଓଡିଶାର ସର୍ବପ୍ରାଚୀନ କଳା ସ୍ଥାପତ୍ୟର ନିଦର୍ଶନ । ଖ୍ରୀଷ୍ଟପୂର୍ବ ତୃତୀୟ ଶତାବ୍ଦୀରେ ନିର୍ମିତ ଏହି କମନୀୟ ମୂର୍ତ୍ତିଠାରୁ ଆରମ୍ଭ କରି ଅଦ୍ୟାବଧୂ ଓଡିଶାର ସ୍ଥାପତ୍ୟ ଭାସ୍କର୍ଯ୍ୟରେ ଧର୍ମ ଓ କଳାର ଅପୂର୍ବ ସମନ୍ବୟ ଦେଖୁବାକୁ ମିଳେ । ଏଠାରେ ସଂଘଟିତ ହୋଇଛି ଶିଳ୍ପୀର ଧର୍ମାନୁରାଗ ଓ ସର୍ଜନାତ୍ମକ ଆବେଗର ସହାବସ୍ଥାନ । ବିଭିନ୍ନ ସମୟରେ ବିକଶିତ ଓ ଉଦ୍ଭାସିତ ଶୈଳ୍ପିକ କଳାର ମୁଖ୍ୟ ବିଭବ ହେଉଛି ନୂତନତାର ଅନ୍ଵେଷା, ରୋମାଞ୍ଚଭରା ମାଦକତା, ସଂବେଦନଶୀଳତା, କମନୀୟତା ଓ କଳାକୌଶଳ ।

ଓଡିଶା ହସ୍ତଶିଳ୍ପର ସୌନ୍ଦର୍ଯ୍ୟ ଓ ସୌକୁମାର୍ଯ୍ୟର ପଟ୍ଟାନ୍ତର ନାହିଁ । ଓଡିଶା ସଂସ୍କୃତିର ଗୌରବ ବର୍ଦ୍ଧନ କରୁଥୁବା ହସ୍ତଶିଳ୍ପ ମଧ୍ଯରେ ପିପିଲର ଚାନ୍ଦୁଆ ପୁରୀର ପଟ୍ଟଚିତ୍ର, କଟକର ତାରକସି, ସମ୍ବଲପୁର ଓ ନୂଆପାଟଣାର ତନ୍ତ୍ରବସ୍ତ୍ର, ପାରଳାଖେମୁଣ୍ଡିର ସିଂଘକାମ, ଢେଙ୍କାନାଳର ଢୋକ୍ରା ଓ ମୃଭିକା ନିର୍ମିତ ମୂର୍ତ୍ତି, ବେଲଗୁଣ୍ଠାର ନମନୀୟ ମାଛ, ନବରଙ୍ଗପୁରର ଲାଖ କାମ, କଣ୍ଟିଲୋ, ବାଳକାଟି ଓ ଗଂଜାମର କଂସା ଓ ପିତ୍ତଳ ସାମଗ୍ରୀ, ଲଳିତଗିରି, ପୁରୀ ଓ ଭୁବନେଶ୍ୱରର ପ୍ରସ୍ତର ଓ କାଷ୍ଠନିର୍ମିତ ହସ୍ତଶିଳ୍ପ ସ୍ୱତନ୍ତ୍ର ମର୍ଯ୍ୟାଦା ଦାବି କରନ୍ତି ।

କାଷ୍ଠ ଓ ପ୍ରସ୍ତର କାର୍ଯ୍ୟ, ଚିତ୍ରକଳା ଓ ବୟନ କାର୍ଯ୍ୟରେ ଓଡିଶାର କାରିଗରମାନେ ଅଦ୍ଭୂତ ଦକ୍ଷତାର ପରିଚୟ ପ୍ରଦାନ କରିଛନ୍ତି । ଏ ସମସ୍ତ ହସ୍ତଶିଳ୍ପରେ ସେମାନଙ୍କର କଳାତ୍ମକ ସୌନ୍ଦର୍ଯ୍ୟବୋଧ ପ୍ରତିଫଳିତ ।

ଉପକ୍ରମ—ଓଡ଼ିଶାରେ କଳାର ଅନ୍ୟନାମ ଜୀବନ । ଓଡିଶା ମାଟିର ପ୍ରତିଟି ରେଣୁରେ କଳାର ସ୍ପନ୍ଦନ । ଓଡ଼ିଶୀ ପଟ୍ଟଚିତ୍ରର ପରଂପରା ଅତି ପ୍ରାଚୀନ । ସମ୍ଭବତଃ ଶ୍ରୀଜଗନ୍ନାଥ ମନ୍ଦିର ନିର୍ମାଣ କାଳରୁ ଏହା ବି ବିକାଶ ଲାଭ କରିଛି । ଶାସ୍ତ୍ରୀୟ ଓ ଲୋକକଳାର ସମ୍ମିଶ୍ରଣ ଲକ୍ଷ୍ୟ କରାଯାଏ ଏହି କଳାରେ ।

ସଚ୍ଚିତ୍ର ଚ୍ଚିତ୍ର ତାଳ ପତ୍ର ପୋଥ୍ କଳାକ୍ଷେତ୍ରକୁ ଓଡିଶା ଶିଳ୍ପୀମାନଙ୍କ କରେ ରେ । ନଙ୍କର ଅନନ୍ୟ ଅବଦାନ । ସମଗ୍ର ପୃଥିବୀର କଳାନୁରାଗୀମାନଙ୍କୁ ଏହା ବିସ୍ମିତ ଓ ଅଭିଭୂତ

ଓଡିଶାର ଲୋକକଳା କହିଲେ ପ୍ରଥମେ ମନକୁ ଆସେ ଝୋଟି ଚିତା । ଓଡିଆ ଘରର କୌଣସି ଓଷା, ବ୍ରତ, ବିବାହ ଆଦି ମାଙ୍ଗଳିକ ଅନୁଷ୍ଠାନ ଝୋଟି ଚିତା ବିନା ସଂପନ୍ନ ହୁଏ ନାହିଁ ।

କାଠ ନିର୍ମିତ ଖେଳନା ଓଡିଶାର ବହୁ ସ୍ଥାନରେ ପ୍ରସ୍ତୁତ ହୋଇଥାଏ । ହାତୀ, ଘୋଡା, ହାତୀ ଓ ମାହୁନ୍ତ, ନାରୀ, ପୁରୁଷ, ଶଗଡ ଗାଡି, ଗଜଲକ୍ଷ୍ମୀ ଏଭଳି ବହୁ ପ୍ରକାର ଖେଳନା ପ୍ରସ୍ତୁତ କରିଥାନ୍ତି କାଷ୍ଠ କାରିଗର ଗମ୍ଭାରି କାଠରୁ । ଜନଜାତି କାରିଗରମାନଙ୍କର ଢୋକ୍ରା କାମ କିଛି କମ୍ ଚିତ୍ତାକର୍ଷକ ନୁହେଁ । ଖଦଡା ଧାତୁ ଅଂଶରୁ ଦୀପ ସ୍ତମ୍ଭ, ବିଭିନ୍ନ ଦେବଦେବୀ, ପଶୁପକ୍ଷୀ ଗଢିବାର କଳ୍ପନା ବାସ୍ତବିକ ଚମତ୍କାର ।

ନବରଙ୍ଗପୁର ଜିଲ୍ଲାର ଲାଖ କାମ, କଳାପ୍ରେମୀମାନଙ୍କର ସ୍ବତଃ ଧ୍ୟାନ ଆକର୍ଷଣ କରେ । ବିଶେଷତଃ ନାରୀ କାରିଗରମାନେ ଏଠାରେ କାଚ ଖଚିତ ଚୂଡି, କଳସ, ଗହଣା ପେଡି ପ୍ରସ୍ତୁତ କରନ୍ତି ।
କୋରାପୁଟ ଜିଲ୍ଲାର ଜୟପୁର ଓ ପୁରୀ କାଗଜ ‘ମୁଖା’ ପାଇଁ ପ୍ରସିଦ୍ଧ । କାଗଜ ମଣ୍ଡରୁ ଏଠାରେ ଶିଳ୍ପୀମାନେ ହାତୀ, ବାଘ, ହରିଣ, ଭାଲୁ, ମାଙ୍କଡ, କୂର୍ମ ଆଦି ଜୀବଜନ୍ତୁ ଓ ବିଭିନ୍ନ ପୌରାଣିକ ଚରିତ୍ରର ମୁଖା ତିଆରି କରିଥାନ୍ତି ।

ପିପିଲିର ଚାନ୍ଦୁଆ ଶିଳ୍ପୀମାନଙ୍କ ପ୍ରସ୍ତୁତ ତ୍ରାସ, ଛତ୍ର, ଛତ୍ରୀ ଓ ଚାନ୍ଦୁଆ ଇତ୍ୟାଦି ବିଭିନ୍ନ ମାଙ୍ଗଳିକ କର୍ମରେ ବ୍ୟବହୃତ ହୁଏ । ଏତଦ୍ ବ୍ୟତୀତ ଶୁଆ, ଶାରୀ, ପଦ୍ମଫୁଲ, ପୂର୍ଣକୁମ୍ଭ, ହାତୀ, ମୟୂର ଏସବୁ ଚାନ୍ଦୁଆ ଶିଳ୍ପୀମାନେ ଖୁବ୍ ସୁନ୍ଦର ଭାବରେ ପ୍ରସ୍ତୁତ କରିଥାନ୍ତି । ଏସବୁ ବର୍ତ୍ତମାନ ଓଡିଶା ବାହାରେ ଆନ୍ତର୍ଜାତିକ ସ୍ତରରେ ଆଦୃତ ।

ଓଡିଶାର ହସ୍ତତନ୍ତ ପରିପାଟୀ ଓ ଶୈଳୀ ଦୃଷ୍ଟିରୁ ଅନନ୍ୟ । ସୁବର୍ଣ୍ଣପୁର, ବଲାଙ୍ଗୀର, ବରଗଡ, ସମ୍ବଲପୁର ଜିଲ୍ଲାର ତନ୍ତଶିଳ୍ପୀମାନେ ଶାଢ଼ୀ ଓ ଅନ୍ୟାନ୍ୟ ବସ୍ତ୍ରରେ ସେମାନଙ୍କ କଳାର ପରକାଷ୍ଠା ପ୍ରଦର୍ଶନ କରିଛନ୍ତି ।

Transcription (not proofread):

cāru o kārukaḷā gyālerī oḍiśā rājya saṃgrahāḷaya—bhāratara śaha śaha barṣara prācīna nabhaścumbī mandiraṭhāru ārambha kari sādhāraṇa janajībanare oḍiśāra prasiddha kaḷāra svākṣara lipibaddha | | mahān kaḷā paramparāra prabāharu bicchinna nahele heṃ bhāratīya kaḷāre e māṭira śiḷpīmānaṅkara nijasba ruci, śiḷpabodha pratiphaḷita |

bhāratara anya sthānamānaṅka pari oḍiśāre dharmara pracāra saha kaḷāra saṃpṛktiku asvīkāra karihebanāhiṃ | jaina dharma, bauddha dharma, śaiba, baiṣṇaba o śākta dharmamatara bikāśa saha tāḷa dei utkaḷara śiḷpīmāne gumphā, mandira, stūpa–bihāramānaṅkare nijara kaḷā cāturyyaku prasphuṭita karichanti |

dhauḷira śiḷāru utthuta hastī oḍiśāra sarbaprācīna kaḷā sthāpatyara nidarśana | khrīṣṭapūrba tṛtīya śatābdīre nirmita ehi kamanīya mūrttiṭhāru ārambha kari adyābadhū oḍiśāra sthāpatya bhāskaryyare dharma o kaḷāra apūrba samanbaya dekhubāku miḷe | eṭhāre saṃghaṭita hoichi śiḷpīra dharmānurāga o sarjanātmaka ābegara sahābasthāna | bibhinna samayare bikaśita o udbhāsita śaiḷpika kaḷāra mukhya bibhaba heuchi nūtanatāra anveṣā, romāñcabharā mādakatā, saṃbedanaśīḷatā, kamanīyatā o kaḷākauśaḷa |

oḍiśā hastaśiḷpara saundaryya o saukumāryyara paṭṭāntara nāhiṃ | oḍiśā saṃskṛtira gauraba barddhana karuthubā hastaśiḷpa madhyare pipilara cānduā purīra paṭṭacitra, kaṭakara tārakasi, sambalapura o nūāpāṭaṇāra tantrabastra, pāraḷākhemuṇḍira siṃghakāma, ḍheṅkānāḷara ḍhokrā o mṛbhikā nirmita mūrtti, belaguṇṭhāra namanīya mācha, nabaraṅgapurara lākha kāma, kaṇṭilo, bāḷakāṭi o gaṃjāmara kaṃsā o pittaḷa sāmagrī, laḷitagiri, purī o bhubaneśvarara prastara o kāṣṭhanirmita hastaśiḷpa svatantra maryyādā dābi karanti |

kāṣṭha o prastara kāryya, citrakaḷā o bayana kāryyare oḍiśāra kārigaramāne adbhūta dakṣatāra paricaya pradāna karichanti | e samasta hastaśiḷpare semānaṅkara kaḷātmaka saundaryyabodha pratiphaḷita |

upakrama—oṛiśāre kaḷāra anyanāma jībana | oḍiśā māṭira pratiṭi reṇure kaḷāra spandana | oṛiśī paṭṭacitrara paraṃparā ati prācīna | sambhabataḥ śrījagannātha mandira nirmāṇa kāḷaru ehā bi bikāśa lābha karichi | śāstrīya o lokakaḷāra sammiśraṇa lakṣya karāyāe ehi kaḷāre |

saccitra ccitra tāḷa patra poth kaḷākṣetraku oḍiśā śiḷpīmānaṅka kare re | naṅkara ananya abadāna | samagra pṛthibīra kaḷānurāgīmānaṅku ehā bismita o abhibhūta

oḍiśāra lokakaḷā kahile prathame manaku āse jhoṭi citā | oḍiā gharara kauṇasi oṣā, brata, bibāha ādi māṅgaḷika anuṣṭhāna jhoṭi citā binā saṃpanna hue nāhiṃ |

kāṭha nirmita kheḷanā oḍiśāra bahu sthānare prastuta hoithāe | hātī, ghoḍā, hātī o māhunta, nārī, puruṣa, śagaḍa gāḍi, gajalakṣmī ebhaḷi bahu prakāra kheḷanā prastuta karithānti kāṣṭha kārigara gambhāri kāṭharu | janajāti kārigaramānaṅkara ḍhokrā kāma kichi kam cittākarṣaka nuheṃ | khadaḍā dhātu aṃśaru dīpa stambha, bibhinna debadebī, paśupakṣī gaḍhibāra kaḷpanā bāstabika camatkāra |

nabaraṅgapura jillāra lākha kāma, kaḷāpremīmānaṅkara sbataḥ dhyāna ākarṣaṇa kare | biśeṣataḥ nārī kārigaramāne eṭhāre kāca khacita cūḍi, kaḷasa, gahaṇā peḍi prastuta karanti |
korāpuṭa jillāra jayapura o purī kāgaja ‘mukhā’ pāiṃ prasiddha | kāgaja maṇḍaru eṭhāre śiḷpīmāne hātī, bāgha, hariṇa, bhālu, māṅkaḍa, kūrma ādi jībajantu o bibhinna paurāṇika caritrara mukhā tiāri karithānti |

pipilira cānduā śiḷpīmānaṅka prastuta trāsa, chatra, chatrī o cānduā ityādi bibhinna māṅgaḷika karmare byabahṛta hue | etad byatīta śuā, śārī, padmaphula, pūrṇakumbha, hātī, mayūra esabu cānduā śiḷpīmāne khub sundara bhābare prastuta karithānti | esabu barttamāna oḍiśā bāhāre āntarjātika starare ādṛta |

oḍiśāra hastatanta paripāṭī o śaiḷī dṛṣṭiru ananya | subarṇṇapura, balāṅgīra, baragaḍa, sambalapura jillāra tantaśiḷpīmāne śāṛhī o anyānya bastrare semānaṅka kaḷāra parakāṣṭhā pradarśana karichanti |

Transcription (not proofread):

caru o karukala gyaleri odisa rajya samgrahalaya—bharatara saha saha barsara pracina nabhascumbi mandiratharu arambha kari sadharana janajibanare odisara prasiddha kalara svaksara lipibaddha | | mahan kala paramparara prabaharu bicchinna nahele hem bharatiya kalare e matira silpimanankara nijasba ruci, silpabodha pratiphalita |

bharatara anya sthanamananka pari odisare dharmara pracara saha kalara samprktiku asvikara karihebanahim | jaina dharma, bauddha dharma, saiba, baisnaba o sakta dharmamatara bikasa saha tala dei utkalara silpimane gumpha, mandira, stupa–biharamanankare nijara kala caturyyaku prasphutita karichanti |

dhaulira silaru utthuta hasti odisara sarbapracina kala sthapatyara nidarsana | khristapurba trtiya satabdire nirmita ehi kamaniya murttitharu arambha kari adyabadhu odisara sthapatya bhaskaryyare dharma o kalara apurba samanbaya dekhubaku mile | ethare samghatita hoichi silpira dharmanuraga o sarjanatmaka abegara sahabasthana | bibhinna samayare bikasita o udbhasita sailpika kalara mukhya bibhaba heuchi nutanatara anvesa, romancabhara madakata, sambedanasilata, kamaniyata o kalakausala |

odisa hastasilpara saundaryya o saukumaryyara pattantara nahim | odisa samskrtira gauraba barddhana karuthuba hastasilpa madhyare pipilara candua purira pattacitra, katakara tarakasi, sambalapura o nuapatanara tantrabastra, paralakhemundira simghakama, dhenkanalara dhokra o mrbhika nirmita murtti, belagunthara namaniya macha, nabarangapurara lakha kama, kantilo, balakati o gamjamara kamsa o pittala samagri, lalitagiri, puri o bhubanesvarara prastara o kasthanirmita hastasilpa svatantra maryyada dabi karanti |

kastha o prastara karyya, citrakala o bayana karyyare odisara karigaramane adbhuta daksatara paricaya pradana karichanti | e samasta hastasilpare semanankara kalatmaka saundaryyabodha pratiphalita |

upakrama—orisare kalara anyanama jibana | odisa matira pratiti renure kalara spandana | orisi pattacitrara parampara ati pracina | sambhabatah srijagannatha mandira nirmana kalaru eha bi bikasa labha karichi | sastriya o lokakalara sammisrana laksya karayae ehi kalare |

saccitra ccitra tala patra poth kalaksetraku odisa silpimananka kare re | nankara ananya abadana | samagra prthibira kalanuragimananku eha bismita o abhibhuta

odisara lokakala kahile prathame manaku ase jhoti cita | odia gharara kaunasi osa, brata, bibaha adi mangalika anusthana jhoti cita bina sampanna hue nahim |

katha nirmita khelana odisara bahu sthanare prastuta hoithae | hati, ghoda, hati o mahunta, nari, purusa, sagada gadi, gajalaksmi ebhali bahu prakara khelana prastuta karithanti kastha karigara gambhari katharu | janajati karigaramanankara dhokra kama kichi kam cittakarsaka nuhem | khadada dhatu amsaru dipa stambha, bibhinna debadebi, pasupaksi gadhibara kalpana bastabika camatkara |

nabarangapura jillara lakha kama, kalapremimanankara sbatah dhyana akarsana kare | bisesatah nari karigaramane ethare kaca khacita cudi, kalasa, gahana pedi prastuta karanti |
koraputa jillara jayapura o puri kagaja ‘mukha’ paim prasiddha | kagaja mandaru ethare silpimane hati, bagha, harina, bhalu, mankada, kurma adi jibajantu o bibhinna pauranika caritrara mukha tiari karithanti |

pipilira candua silpimananka prastuta trasa, chatra, chatri o candua ityadi bibhinna mangalika karmare byabahrta hue | etad byatita sua, sari, padmaphula, purnakumbha, hati, mayura esabu candua silpimane khub sundara bhabare prastuta karithanti | esabu barttamana odisa bahare antarjatika starare adrta |

odisara hastatanta paripati o saili drstiru ananya | subarnnapura, balangira, baragada, sambalapura jillara tantasilpimane sarhi o anyanya bastrare semananka kalara parakastha pradarsana karichanti |

Comparative table

Here follows a lexicon table of native and vernacular words and their possible Sanskrit equivalents, based on the image text.

Gallery information:

These photographs are from the “Arts and Crafts gallery” of the Odisha state museum in Bhubaneswar.—It includes brass sculptures, traditional Odia utensils, measuring cups, animals made from various metals, ornament boxes and pots for keeping cosmetics, betal cases and depictions of Krishna, among many others.  This gallery serves as a comprehensive repository of Odisha’s material culture, documenting the evolution from sacred iconography to vernacular folk art. It provides a critical academic lens into the socio-religious and aesthetic continuity of the region.