Saturday, June 20, 2020

Odia mo bhasa - Odisha Shayari

Odia mo bhasa photo
Odia mo bhasa photo

Birth of Odia 

The term Odia comes from ancient Sanskrit Odra. The Odrakas is expressed as one of the individuals that battled in the Mahabharata. It is the official language of Odisha "Some time ago which is known as Orissa" and the 2nd official language of Jharkhand. 

The language is additionally spoken by a sizeable populace of in any event 1 million individuals in Chhattisgarh. Where native speakers make up 82% of the population, also spoken in parts of West Bengal, Jharkhand, Chhattisgarh, and Andhra Pradesh.

Odia is the 6th Indian language to be assigned a Classical Language in India based on having a long artistic history and not having acquired broadly from other languages. Odia belongs to the Indo-Aryan language family. The mother-tongue of the people living in the state of Odisha in Odia language. Around 31 million people in India speak Odia language

History of Odia

Odia mo bhasa
Odia mo bhasa

Old Odia (twelfth century and prior): Inscriptions from the tenth century onwards give proof to the presence of the Old Odia language, despite the fact that the most punctual known engraving that really contains Odia lines is dated to 1249 CE. Early Middle Odia (1200–1400): The most punctual utilization of composition can be found in the Madala Panji of the Jagannath Temple at Puri, which goes back to the twelfth century. Such functions as Shishu Veda, Amara Kosha, Gorakha Samhita, Kalasha Chautisha, and Saptanga are written in this type of Odia. 

Center Odia (1400–1700): Sarala Das composes the Vilanka Ramayana. Towards the sixteenth century, artists rose around the Vaishnava chief Achyutananda, These five artists are Balaram Das, Jagannatha Dasa, Achyutananda, Ananta Dasa and Jasobanta Dasa. 

Late Middle Odia (1700–1850): Ushabhilasa of Sisu Sankara Das, the Rahasya Manjari of Deba Durlabha Dasa and the Rukmini Bibha of Kartika Dasa were composed. Another type of metrical epic-lyrics (called Chhanda-Kabya) developed during the start of the seventeenth century when Ram Chandra Pattanayak composed Haravali. Upendra Bhanja played the main job in this period-his manifestation Baidehisha Bilasa, Koti Brahmanda Sundari, Labanyabati were milestones in Odia Literature. Dinakrushna Dasa's Rasokallola and Abhimanyu Samanta Singhara's Bidagdha Chintamani are unmistakable Kavyas of this time. Four noteworthy writers who rose toward the part of the bargain are Baladeba Rath, Bhima Bhoi, Brajanath Badajena, and Gopala Krushna Pattanaik. 

Literature of Odia

The most punctual writing in Odia language can be followed to the Charyapadas created in the seventh to ninth hundreds of years. Before Sarala Das, the most significant works in Odia writing are the Shishu Veda, Saptanga, Amara Kosha, Rudrasudhanidhi, Kesava Koili, Kalasha Chautisha, and so on. In the fourteenth century, the writer Sarala Dasa composed the Sarala Mahabharata, Chandi Purana, and Vilanka Ramayana, in acclaim for the goddess Durga. Rama-bibaha, composed by Arjuna Dasa, was the main song lyrics written in the Odia language. 

The accompanying period is named the Panchasakha Age and stretches until the year 1700. The period starts with the compositions of Shri Chaitanya Mahaprabhu whose Vaishnava impact acquired another development in Odia writing. Outstanding religious works of the Panchasakha Age incorporate those of Balarama Dasa, Jagannatha Dasa, Yasovanta, Ananta, and Acyutananda. The creators of this period mostly interpreted, adjusted, or imitated Sanskrit writing. Other unmistakable works of the period incorporate the Usabhilasa of Sisu Sankara Dasa, the Rahasya-Manjari of Deva-durlabha Dasa, and the Rukmini-bib has of Kartikka Dasa. Another type of book in section developed during the start of the seventeenth century when Ram Chandra Pattanayak composed Haravali.

Be that as it may, during the Bhanja Age (otherwise called the Age of Riti Yuga) starting with the turn of the eighteenth century, verbally dubious Odia turned into the request for the day. Verbal jugglery, fullness, and sensuality portray the period somewhere in the range of 1700 and 1850, especially in the progress of the time's eponymous artist Upendra Bhanja (1670–1720). Bhanja's work enlivened numerous imitators of which the most outstanding is Arakshita Das. Family accounts in writing relating to religious celebrations and ceremonies are likewise normal for the period. 

The primary Odia printing typeset was thrown in 1836 by Christian preachers. Despite the fact that the written by hand Odia content of the time intently took after the Bengali and Assamese contents, the one embraced for the printed typesets was essentially unique, inclining more towards the Tamil content and Telugu content. Amos Sutton delivered an Oriya Bible (1840), Odia Dictionary (1841–43), and An Introductory Grammar of Oriya (1844).

Odia has a rich scholarly legacy going back to the thirteenth century. Sarala Dasa who lived in the 14th century is known as the Vyasa Kabi of Odisha. He made an interpretation of the Mahabharata into Odia. Indeed, the language was first institutionalized through a procedure of interpreting old-style Sanskrit messages, for example, the Mahabharata, Ramayana, and Srimad Bhagavad Gita. The interpretation of the Srimad Bhagavad Gita by Jagannatha Dasa was especially persuasive on the composed type of the language. Odia has had a solid custom of verse, particularly reverential verse.

Three incredible artists and composition authors, Kabibar Radhanath Ray (1849–1908), Fakir Mohan Senapati (1843–1918), and Madhusudan Rao (1853–1912) made Odia their own. They got an advanced standpoint and soul into Odia's writing. Around a similar time, the advanced show took birth in the progress of Rama Sankara Ray starting with Kanchi-Kaveri (1880). 

Among the peers of Fakir Mohan, four authors merit extraordinary notice: Aparna Panda, Mrutyunjay Rath, Ram Chandra Acharya, and Brajabandhu Mishra. Aparna Panda's Kalavati and Brajabandhu Mishra's Basanta Malati were both distributed in 1902, the year where Chha Mana Atha Guntha turned out in book structure. Brajabandhu Mishra's Basanta Malati, which turned out from Bamenda, delineates the contention between a poor yet profoundly instructed youngster and a well off and an exceptionally prideful young lady whose marital life is genuinely influenced by a sense of self conflicts.

Through an account of association, detachment, and gathering, the author portrays the mental condition of a young lady in the division from her better half and looks at the centrality of marriage as a social establishment in conventional Indian culture. Slam Chandra Acharya expounded on seven books during 1924–1936. Every one of his books is authentic sentiments dependent on the verifiable occasions in Rajasthan, Maharashtra, and Odisha. Mrutyunjay Rath's epic, Adbhuta Parinama, distributed in 1915, revolves around a youthful Hindu who gets changed over to Christianity to wed a Christian young lady. 

One of the noticeable scholars of the nineteenth and twentieth hundreds of years was Muralidhar Mallick (1927–2002). His commitment to Historical books is amazing. He was last congratulated by the Sahitya Academy in the year 1998 for his commitments to Odia's writing. His child Khagendranath Mallick (brought into the world 1951) is likewise an author. His commitment to verse, analysis, articles, story, and books is praiseworthy. He was the previous President of Utkal Kala Parishad and furthermore previous President of Odisha Geeti Kabi Samaj. Directly he is an individual from the Executive Committee of Utkal Sahitya Samaj. Other distinguished essayists of the twentieth century were Mr. Chintamani Das. A prominent academician, he was composed in excess of 40 books including fiction, short stories, histories, and storybooks for kids. Conceived in 1903 in Sri Ramachandrapura town under Satyabadi square, Chintamani Das is the main essayist who has composed life stories of all the five 'Pancha Sakhas' of Satyabadi, in particular, Pandit Gopabandhu Das, Acharya Harihara, Nilakantha Das, Krupasindhu Mishra, and Pandit Godabarisha. Having filled in as the Head of the Odia branch of Khallikote College, Berhampur, Chintamani Das was congratulated with the Sahitya Akademi Samman in 1970 for his extraordinary commitment to Odia writing as a rule and Satyabadi Yuga writing specifically. A portion of his notable abstract manifestations is 'Bhala Manisha Hua', 'Manishi Nilakantha', 'Kabi Godabarisha', 'Vyasa Kabi Fakir Mohan', 'Usha', 'Barabati'.

One of the incredible authors in the nineteenth century was Pandit Krushna Chandra Kar (1907–1995) from Cuttack, who composed numerous books for kids like Pari Raija, Kuhuka Raija, Panchatantra, Adi Jugara Galpa Mala, and so on. He was congratulated by the Sahitya Academy in the year 1971–72 for his commitments to Odia writing, advancement of youngsters' fiction, and accounts. 

Finishing touch

New Odia mo bhasa language
New Odia mo bhasa language

The most punctual Odisha was called Odra or Kalinga, which later on moved toward becoming Utkal. 

The word Odia has specified in stories like the Mahabharata. The Odras are referenced as one of the people groups that battled in the Mahabharata. Pali's writing calls them Oddakas. Ptolemy and Pliny the Elder also suggest the Oretas who involve India's eastern coast. The cutting edge term Odia dates from the fifteenth century when it was utilized by the medieval Muslim recorders and received by the Gajapati rulers of Odisha

ସମାପ୍ତ ସ୍ପର୍ଶ 

ସବୁଠାରୁ ସମୟାନୁବର୍ତ୍ତୀ ଓଡ଼ିଶାର ନାମ ଓଡ୍ରା କିମ୍ବା କାଲିଙ୍ଗା କୁହାଯାଉଥିଲା ଯାହା ପରବର୍ତ୍ତୀ ସମୟରେ ଉତ୍କଳ ହେବାକୁ ଲାଗିଲା।

ମହାଭାରତ ପରି କାହାଣୀରେ ଓଡିଆ ଶବ୍ଦ ନିର୍ଦ୍ଦିଷ୍ଟ କରିଛି | ମହାଭାରତରେ ଯୁଦ୍ଧ କରିଥିବା ଲୋକ ଗୋଷ୍ଠୀ ମଧ୍ୟରୁ ଓଡ଼ିଆକୁ ସୂଚିତ କରାଯାଇଛି | ପାଲିଙ୍କ ଲେଖା ସେମାନଙ୍କୁ ଓଡଡାକ୍ ବୋଲି କହିଥାଏ | ଟୋଲେମି ଏବଂ ପ୍ଲିନି ଦି ଏଲ୍ଡର୍ ମଧ୍ୟ ଓରେଟାମାନଙ୍କୁ ପରାମର୍ଶ ଦିଅନ୍ତି ଯେଉଁମାନେ ଭାରତର ପୂର୍ବ ଉପକୂଳରେ ଜଡିତ | ଓଡିଆର ପ ୍ଚଦଶ ଶତାବ୍ଦୀରୁ ଆରମ୍ଭ ହୋଇଥିଲା ଯେତେବେଳେ ଏହା ମଧ୍ୟଯୁଗୀୟ ମୁସଲମାନ ରେକର୍ଡର୍ମାନଙ୍କ ଦ୍ୱାରା ବ୍ୟବହୃତ ହୋଇଥିଲା ଏବଂ ଓଡ଼ିଶାର ଗଜପତି ଶାସକମାନଙ୍କ ଦ୍ୱାରା ଗ୍ରହଣ କରାଯାଇଥିଲା |

also read our previous article - Puri Rath Yatra


This video is from - Bikash Academy

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