CENTER FOR ART AND ARCHAEOLOGY

Subject: Gopinath. This palm leaf shows Lord Krishna as Gopinath (lord of gopis) with milkmaids. The ethnic art form of palm leaf engraving essentially consists of inscribing designs on palm-leaf, mostly cut into standard sizes and held together with two wooden plank covers stringed through a hole in the center. The artists of palm leaf etchings use themes of mythological incidents, gods and goddesses figures with intricate details of hair style and dress, animals, trees etc. This object has been procured by Utkalika, Odisha State Co-operative Handicraft Corporation Ltd.

Subject: Ushabilash. This painting shows 'Ushabhilasa', the story of marriage of Usha (daughter of Banasura) and Aniruddha (grandson of Krishna). The ethnic art form of palm leaf engraving essentially consists of inscribing designs on palm-leaf, mostly cut into standard sizes and held together with two wooden plank covers stringed through a hole in the center. The artists of palm leaf etchings use themes of mythological incidents, gods and goddesses figures with intricate details of hair style and dress, animals, trees etc. This object has been procured by Utkalika, Odisha State Co-operative Handicraft Corporation Ltd.

Subject: Mahabharata. This palm leaf shows episodes from the Hindu epic Mahabharata. The ethnic art form of palm leaf engraving essentially consists of inscribing designs on palm-leaf, mostly cut into standard sizes and held together with two wooden plank covers stringed through a hole in the center. The artists of palm leaf etchings use themes of mythological incidents, gods and goddesses figures with intricate details of hair style and dress, animals, trees etc. This object has been procured by Utkalika, Odisha State Co-operative Handicraft Corporation Ltd.

Subject: Krishna Leela. This palm leaf shows episodes from Krishna Leela. Krishna Leela consists of Krishna themes but in Odisha we come across themes that are not derived from the Bhagavata Purana. These are called rasa pictures which are special form of erotic games in which milk maidens or gopis have an important role. The ethnic art form of palm leaf engraving essentially consists of inscribing designs on palm-leaf, mostly cut into standard sizes and held together with two wooden plank covers stringed through a hole in the center. The artists of palm leaf etchings use themes of mythological incidents, gods and goddesses figures with intricate details of hair style and dress, animals, trees etc. This object has been procured by Utkalika, Odisha State Co-operative Handicraft Corporation Ltd.

Subject: Episodes from Ramayana. This palm leaf shows episodes from the Hindu epic Ramayana. The ethnic art form of palm leaf engraving essentially consists of inscribing designs on palm-leaf, mostly cut into standard sizes and held together with two wooden plank covers stringed through a hole in the center. The artists of palm leaf etchings use themes of mythological incidents, gods and goddesses figures with intricate details of hair style and dress, animals, trees etc. This object has been procured by Utkalika, Odisha State Co-operative Handicraft Corporation Ltd.

Subject: Durga story. This palm leaf shows the story of Durga. The ethnic art form of palm leaf engraving essentially consists of inscribing designs on palm-leaf, mostly cut into standard sizes and held together with two wooden plank covers stringed through a hole in the center. The artists of palm leaf etchings use themes of mythological incidents, gods and goddesses figures with intricate details of hair style and dress, animals, trees etc. This object has been procured by State Institute for Development of Arts & Crafts (SIDAC) Show House.

Subject: Pothi (Bhagabata gita). The Odia Bhagavata Gita was authored by Jagannatha Das. A stack of uniformly sized palm leaves are stitched together to form a continuous scroll called pothi. The pothi is an integral part of traditional Odishan life. The history of Odisha is encapsulated in pothis and is often a part of the family bequest. This object has been procured by Utkalika, Odisha State Co-operative Handicraft Corporation Ltd.

Subject: Ganjapa Cards and Box. Ganjapa cards are playing cards with an adaptation of pattachitra on them. The origin of the word ganjapa lies in the Persian word ganjifeh. In Odisha, ganjapa cards can be found in 8, 10, 12, 16, 24 suits. They are packed in a box that is also richly painted with motifs, designs and mythological themes. This object has been procured by State Institute for Development of Arts & Crafts (SIDAC) Show House.

Subject: Ganjapa Cards Box. This is a box in which Ganjapa cards are placed. Ganjapa cards are playing cards with an adaptation of pattachitra on them. The origin of the word ganjapa lies in the Persian word ganjifeh. In Odisha, ganjapa cards can be found in 8, 10, 12, 16, 24 suits. They are packed in a box that is also richly painted with motifs, designs and mythological themes. This object has been procured by State Institute for Development of Arts & Crafts (SIDAC) Show House.

Subject: Ganjapa Cards Box. This is a box in which Ganjapa cards are placed. Ganjapa cards are playing cards with an adaptation of pattachitra on them. The origin of the word ganjapa lies in the Persian word ganjifeh. In Odisha, ganjapa cards can be found in 8, 10, 12, 16, 24 suits. They are packed in a box that is also richly painted with motifs, designs and mythological themes. This object has been procured by State Institute for Development of Arts & Crafts (SIDAC) Show House.

Subject: Lady with a Yo-Yo

Subject: Lankesvara section, east wall, Surya

Subject: Octagonal chhatri over engaged northwest turret, detail

Subject: General view, southeast corner turret placed over octagonal bastion

Subject: Interior of the northeast corner domed turret

Subject: Interior of the northeast corner domed turret

Subject: Detailed view of the floral pattern on the drum of the dome

Subject: Octagonal chhatri over engaged northwest turret, detail

Subject: Square, domed chamber with engaged corner turrets, ornate east wall. Tomb enclosure fronting the central semi-domed high alcove is a later addition

Subject: Detailed view of the soffit with floral paintings on sunken high-rise central arch along with ornate east face

Subject: Perforated screens on sunken high-rise central arch (east face)

Subject: Detailed view of glazed tile decoration on face (central part) of southeast corner bastion

Subject: View of Muhammad Mumin al-Husayni tomb from southeast corner turret

Subject: Square, domed chamber with engaged corner turrets, ornate east wall. Tomb enclosure fronting the central semi-domed high alcove is a later addition