Gopalpur on Sea

One of the most pristine beaches of Odisha, this quiet beach is a splendid retreat for sea-worshippers, located about 16 km from Berhampur. Once a humming seaport, Gopalpur offers its visitors a slice of serenity in environs that are conducive to introspection and conviviality.

Gopalpur, widely known as “Gopalpur on Sea” is home to numerous serene beaches and picturesque spots. this humming seaport can be a real retreat to the sea worshippers. Despite the crumbling walls and pillars of the jetty, that are a witness to a past glory of commercial activity; the beach offers peaceful ambience conducive to introspection and conviviality.

Ideal for both sailing and surfing, the beach is fairly isolated and remains undisturbed by the day trippers. Avid beach combers have time and again declared the beach as one of the finest ones at the Eastern Coast. The alluring capability of the beach has pressurized the authorities to revitalize the port again and make it fit for modern ships. May the pleasures of the beach with her backwaters continue to spread its aquatic magic!

16 km from Berhampur, the Gopalpur-on-sea is a popular beautiful sandy beach. Clusters of coconut and palm trees, white sand dunes overgrown with casuarinas plantation separate the beach from the blue waters of the sea. During the days of Kalingas it was known as the port of Paloura from which traders sailed as far as Java, Bali and Sumatra and piled up wealth dealing in silk and pearl. Later it was a transit point to export sugar and cheap labourers for the tea gardens of Assam in north eastern India. The crumbling walls and the pillars of an ancient jetty together with some crumbling bungalows are witness to its swinging maritime past.

The beach with its golden sand of the blue sea has its own sleepy charm. The beach is a very quite and comparatively clean place to swim and sun bathe, but take precautions because of treacherous undercurrents. Watching Gopalpur's endless empty shoreline getting swarmed with fishermen with their hand-nets full of catch is interesting and enjoyable to while away time in the stunning stillness.

Whether it is the rising Sun over the azure waters or the rhythmic lapping of waves shimmering in the bright moonlight, it is an enduring experience. The old lighthouse open to visitors each afternoon, but for a very short duration, offers good views.

Very easily accessible from Berhampur, it has plenty of accommodation options (advisable to book in advance during the high season, November-January; for the rest of the year, it is just idle).

Pipili

Puri has a very wide and distinctive selection of handicrafts. Best known is probably the gorgeous applique work of Pipili. Pipili is on the way from Puri to Bhubaneswar. It is 40 kilometres from Puri, at the junction where the konark road branches from the Bhubaneswar to Puri road. It is a small village. On the main road at Pipili there are many shops selling Applique work products, tourist visiting Puri buy these products from Pipili. It is famous in Odisha as well as in India for it's applique craft. Each and every family of the village engaged themeselves in this applique craft. Most of the people of the village depend on this applique craft for their day to day life. Applique, a French term, is a technique by which various cutting pieces of coloured fabrics are applied to the surface of another foundation fabric. Applique works of Pipili is also known as patching cloth design and in local language this handicraft is known as 'Chandua'.

Samiana(Canopies) and chhatris(umbrellas) that bear magnificent appliques and designs of great artistic skill are manufactured at pipili and puri. It is a hereditary craft. Brightly coloured patches of fabric, cut into animal and flower shapes, are sewn onto bed covers, cushions, wall hangings etc. The art form typically depended on four basis colours, red, white, black and yellow to produce a striking effect. In recent years, green too has been applied vigorously enlivening the craft even more.

Any type of worship or sacrificial work is incomplete without pipili chandua. Canopies, chhatries and tarasas made in applique process are increasingly finding place in festivities. In every religious geity be it the car festival or the minor event of festive, shamiana or the canopies are displayed significantly. Wide scale use of shamiana are seen in the various festival of Lord Jagannath. Since the Lord's rituals are more of the nature of the daily routine of human being, fan, umbrella of applique work are in rampant use to save the deity from the scorching heat of Sun or the rough weather. In chandan yatra the entire procession is taken out displaying and covering the deities with chattris of applique work. Further, the chandua another marvel of applique work has become a household commodity in almost every riligious work.

Besides used in the religious function, with the touch of a little modernity, garments of varied designs are also made with it. Ladies item like frock, blouse, purse, handbags etc. are in great demand among tourists. Screens of bigger size with applique touch are also been made depicting the different charecters of religious myth for interior design or decoration of houses.

Dhauligiri

ShantiStupa of Dhauligiri is also known as the Peace Pagoda. Dhauligiri lies at a distance of 7 Km from Bhubaneswar. As one travels from Bhubaneswar to Puri, one finds Shanti Stupa. The word 'shanti' in the name itself suggests peace. Since King Ashoka adopted the path of peace and tranquility and resorted to Buddhism, he laid the foundation of Dhauligiri Shanti Stupa at a place which is known for the end of Kalinga War. Here, one finds the edict of Lord Budddha which is visited by numerous Buddhist devotees.

Tourists come here to see the Shanti Stupa, and many sculptures including the status of Lord Buddha. On the top of the hill, a dazzling white peace pagoda was built by the Japan Buddha Sangha and the Kalinga Nippon Buddha Sangha in the 1970s.

The construction of Shanti Stupa of Dhauligiri was assisted by Fuji Guruji and therefore, the place became the place of devotion and worship for various people belonging to different generations. One can also spot a number of stupas, chaityas as well as pillars whose foundation was laid by King Ashoka. There also exist a number of edicts that display King Ashoka's intention to promote joy, peace and contentment all through the world. And over the edicts, you come across a rock cut elephant that is considered to be the earliest Buddhist sculpture in Odisha.

The overall structure of the stupa is in the shape of a dome. One can spot the Buddha footprints as well as the Bodhi tree over the stone panels. Over the panels, one also spots the image of Ashoka who keeps his sword of war in front of Lord Buddha suggesting that he had given up the idea of war completely. In the vicinity of this stupa, there lays a monastery named as the Saddharma Vihar Monastery, which is much visited by the Buddhist devotees. And at a short distance from the Shanti Stupa, you find the temple of Dhavaleshwar that was renovated in the year 1972 and is much frequented by Hindu as well as Buddhist devotees. Therefore, do make it a point to visit Dhauligiri and explore various Buddhist attractions that add to the sacred significance of Dhauligiri in Odisha.

History of Dhauli HillsOdisha

In the year 272 B.C. the great Maurya dynasty's legendary king "Ashoka the Great" looked down from over the vast expanse of the battle field of Kalinga (now the area around Dhauli) littered with bodies after a fierce battle. Even after a well-fought victory, the sight of the aftermath of the war, death and destruction horrified him and resulted in Ashoka's transformation.

He channeled his energy, which he spent earlier in winning wars and conquering, in spiritual pursuit. He became a Buddhist and started following Buddha’s teachings and austere ways of leading life. All the destruction made him think about the ephemeral nature of all earthly things and the utter uselessness of running after the earthly possessions which cease after death.

He also pondered about the usefulness of wars which brings in its wake nothing but death, destruction and misery to mankind. So, what was its use or merit-none. It was due to this awakening that Ashoka, the Great Warrior, became a follower of Buddhism and spent the rest of life spreading the teachings of Buddha far and wide in Odisha, India and beyond.

Carvings of the head and forelegs of an elephant emerging from the rock mark the spot where the change of heart and transformation of Ashoka occurred. It is said to be the oldest rock cut sculpture in India (3rd century B.C.). This image is symbolic and it symbolizes the birth of Buddha (the enlightened) and the emergence of Buddhism.

The rock edicts at the bottom hill (and the other at Jau Gada), dating from 260 B.C., suggest that the conquered area may have had two administrative headquarters. On these rock edicts, instructions to his administrators how to rule his subjects are carved on stones which are as follows—“You are in charge of many (thousand living beings). You should gain the affection of men. All men are my children, and as I desire for my children that they obtain welfare and happiness both in this world and the other world, the same do I desire for all men..."

These edicts shed much light on the miraculous transformation of a Great King from a ruthlessly ambitious warrior to a benevolent and highly evolved soul dedicating his later life to Buddhist way of life. These inscriptions on these rocks are remarkably clear even after 2000 years.

3Dlight and sound effects of Dhauligiri

The marvelous show which costs 5 Crore is designed by OTDC in association with ITDC . The show will definitely attract more tourist to the hostorical Shanti Stupa .The show will be of 35 minutes and will speak of the bravery & glory of the great Kalingan Emipre and the story of Kind Ashoka’s tranformation from Chanda Ashoka to Dharma Ashoka . There will be 2 shows every evening . The tickets price will be 25 INR./adult & 10 INR / student-child.No Shows on Monday.

According to sources, there will be two shows every day from 7 pm to 7.35 pm and 7.45 pm to 8.20 pm in Odia, Hindi and English. 

64 Yogini Temple Hirapur

Dating back to the 9th century AD, the 64 Yogini shrines give a glimpse of the religious and occult practices of medieval times. Today only four of the architecturally distinct 64 Yogini shrines survive in India. Out Of them two are in odisha and one of them at Haripur,Bhubaneswar.Odisha.

The Hirapur Temple of Odisha is built of coarse sand stones blocks with literate stones in its foundation. While its Yogini are curved from fin grained grey chlorinate. The inner walls of this circular pavilion or Chandi Mandapa,30 feet in diameter built of coarse sandstone and has barely 8 feet high walls containing 64 inches to house the sculptures of yoginis(2feet hight). The Haripur Yoginis are extraordinary beautiful figures with exquisite features and sensuously formed bodies.

The Yogini traditions are tantric in nature and therefore have strong connections to rural and tribal traditions. However references about these deities have been found in puranic literature too. That the cult of sixty-four yoginis was widely prevalent is evident from several lists of sixty-four yoginis recorded in different texts. The Kalika purana,Skanda purana, Brihadnandikeswara Purana, Cansatha yogini namavali, chandi purana of Sarala Das, Durgapuja, Brihndla Tantra, Bata Avakasa of Balaram Das and other texts contain the list of sixty-four yoginis.

They are: – –

1.Chhaya, 2. Maya, 3. Narayani, 4. Brahmayani, 5. Bhairavi, 6. Maheswari,7. Rudrayani, 8. Baseli,9. Tripura,10. Ugratara, 11. Charchika, 12. Tarini,13. Ambika Kumari, 14. Bhagabati, 15. Nila,16. Kamala, 17. Santi, 18. Kanti, 19. Ghatabari,20. Chamunda, 21. Chandrakanti, 22. Madhavi,23. Kachikeswari, 24. Anala, 25. Rupa,26. Barahi , 27. Nagari , 28. Khechari ,29. Bhuchari, 30. Betali, 31. Kalinjari,32. Sankha, 33. Rudrakali, 34. Kalavati, 35. Kankali, 36. Bukuchai, 37. Bali, 38. Dohini,39. Dwarini, 40. Sohini, 41. Sankata Tarini, 42. Kotalai, 43. Anuchhaya, 44. Kechamukhi Samuha, 45. Ullaka, 46. Samasila, 47. Mudha, 48 Dakhinai, 49. Gopali, 50. Mohini,51. Kamasena, 52. Kapali, 53. Uttarayani,54. Trailokya Byapini, 55. Trilochana,56. Nimai , 57. Dakeswari , 58. Kamala ,59. Ramayani, 60. Anadi Shakti,61. Balakshatrayani, 62. Brahmani, 63. Dharani 64. Matangi.

Mythology apart, the origin of the Yoginis appears to be in small, rural villages. They are local village goddesses, grama devatis, who look over the welfare of an individual village. Through Tantrism, these local deities were able to gain new forms and vitality as a group of goddesses who could impart magical powers to their worshipers.

In the villages of Odisha, the Yoginis are the favored deities. Each gram devi, be she Ramchandi, Shyamkali, Harachandi, Tarini, Viraja, Bhagavati, Durgamata, Sarala, Bhadrakali, Kamakhya, Bhabani, Mangala etc., presides over the welfare of the village. These village goddesses seem to have been gradually transformed and consolidated into potent numerical groupings of sixty-four (sometimes eighty-one, sometimes forty-two) acquiring thereby a totally different character. It was Tantricism that elevated these local deities and gave them new form and vigor as a group of goddesses who could bestow magical powers with a view to the destruction of enemies.

There are four main traditions that are associated with the cult of the yoginis and how they developed from their tribal beginnings and became integrated into orthodox beliefs.All four of the traditions revolve around the idea that the yoginis were minor divinities to greater goddesses.

The first tradition is the idea of the yoginis as aspects of the Devi or Great Goddess. The yoginis were said to be formed from different parts of the Devi, including: her voice, sweat, navel, forehead, cheeks,lips, ears,limbs, toe nails, womb, and her anger.

The second tradition is the idea that the yoginis are attendant deities of the Great Goddess. This tradition is thought to have developed from earlier tradition of Siva and his gana attendants.

The third tradition focuses on the yoginis as acolytes of the Great Goddess: the matrukas. This tradition describes the yoginis as being born of eight mothers and formed into eight groups.

The fourth and final tradition centers on the thought of the yoginis as patrons of the goddess of the Kaulas.

Yogini Worship

The worship of 64 Yoginis in Odisha started at around 800 AD and flourished till 1300 AD . The cult is influenced by Tantrik rituals and a great deal of the worship was conducted to achieve powers of black magic. The number 64, being a multiple of 8, was considered to have magical powers in the numerology of India. Devotees who performed this worship were known to conduct the Shava Chhedan ceremony — meaning the beheading of a dead body as the ultimate symbol of detachment from earthly desires. The members of this cult never harmed living beings and never conducted animal or human sacrifices.

Until 1500 AD, there are references in history to the widespread following of this cult. Yogini worshippers would ask for corpses from poor families with a promise of a grand funeral and provide this after their Shava or corpse ritual was over.

In Yogini worship, the Tantrik symbol is a chakra with 64 spokes in the wheel. Each spoke represents one Yogini a form of Shakti. In most of the well-conserved temples, the sculptures of Yoginis are intact and none of them are erotic as in other temples. This is because this cult did not believe in sex as a path to self discovery.

But in later centuries, out of scary nature of the rituals and because of the growing stronghold of the Bhakti movement all over India — which preached love of god as the finest path to self realization — this cult died a slow death, and remained only in small pockets of India. Thus, today, several Yogini temples are dilapidated and neglected . However the element of fear still persist and even tourists are scared to enter the precincts of the Yogini temples.

However, Yogini temples in Hirapur, Ranipur Jharial are in excellent conditions even today.

64 Yogini Temple,Hirapur Culture and Architecture

Placing the main deity in a dark and hidden chamber like a baby inside a womb has been the custom of the Hindu temples since ages. However the Yogini temples do not follow this practice and their monuments are open to sky. The Yogini temples are usually constructed with a circular cloister, except one temple, the rectangular Yogini temple at Khajuraho. In many such temples, an open shrine in the center of the circle dedicated to either Shiva or Bhairava is also found. Yogini cult is a heterodox sect hence it is expected that their monuments do not follow common Hindu temple architecture

Now coming to the most famous yogini temple of Odisha -The Yogini Temple at Hirapur, also known as the “Mahamaya Temple”, has an ambiance that is quite charged. The temple conveys an impression of the overwhelming power of its sixty-four Yoginis. Mahamaya, the presiding deity of the temple is found adorned with red cloth and vermilion. The deity is still worshiped by the local villagers.

The Hirapur Temple is the smallest of the Yogini temples in India. It measures only thirty feet in diameter, and is hardly eight feet high. The temple is built of coarse sandstone blocks with laterite as its foundation. The Yoginis are carved out of fine-grained gray chlorite. The inner walls of the temples have sixty-four niches with sixty Yoginis still in place.

The credit for building the Yogini temple of Hirapur goes to the Bhauma and Somavamsi rulers of Odisha / Orissa who were known for their tolerance, liberality and eclecticism. During this period, there was a gradual amalgamation of Shaivism (worship of Shiva), Shaktism (worship of the Mother Goddess) and the Vajrayana, or Tantric form of Mahayana Buddhism in the region. It is believed that the Yogini Temple at Hirapur was built towards the end of the Bhauma rule, in the 9th century A.D.

Though yogini cult has seen a diminishing phase and hardly we find the mention of yoginis these days, it is an accepted truth that these once ruled the roost in Odisha and have contributed immensely towards the spiritual and architectural growth of Odisha.

How to reach:

Distance from Bhubaneswar: 15k.m.

Direction: Bhubanswar> Uttara> Haripur

Nearest Railway Station: Bhubaneswar

Nearest Airport: Bhubaneswar

Important contact Number of Bhubaneswar

Bhubaneswar Helpline (0674):
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Chandrabhaga Beach, Konark

Chandrabhaga Beach is situated three km east of the Sun temple of Konark, in the Puri district in the state of Odisha India. It is 30 km from the city of Puri. Formerly Chandrabhaga was considered a place of natural cure for lepers.

The Chandrabhaga beach in Odisha is one of its biggest asset both from the aspect of the tourism industry and the history of the place. The beaches of Odisha play a dominant role in their history and Geography and the Chandrabhaga beach in Odisha is intrinsically linked to the past of the region. But the biggest claim to fame of the Chandrabhaga beach is the Konarak Temple or the Sun Temple.

According to yet another mythological reference, Chandrabhaga, the daughter of a sage, caught the attraction of the Sun God by her magical charm. The God came down to seek her hand in love. Chandrabhaga did not offer herself to the God. Chandrabhaga jumped in to the river and killed herself. As a mark of tribute to her sacrifice, every year on the 7th day of the fullmoon fortnight of Magha month, lakhs of people from all over the state and outside gather to take a holy dip in the river that is reduced to a shallow pool, offer their prayers to the Sun God and enjoy the Sun rise.

The Chandrabhaga beach is considered to be one of the most attractive beach in Odisha and it is also an ideal place to enjoy the intricate creations of nature. The solitude and natural panorama that this beach offers is beyond description.

Puri Beach

Fine white sands, roar of the breakers rolling in from the Bay of Bengal and countless devotees flocking the place for a purification dip are the synonyms to the Puri Beach. The beach has continued to be a sacred venue for an endless number of pilgrims coming to pay homage to Lord Jagannath.

With the annual Beach Festival taking place in November, the beach has now become a favorite haunt of both Indian and foreign beach lovers. Located at a mere distance of 35 kms from the Konark Sun Temple and 65 kms from Bhubaneshwar, the beach is an ideal place for an introvert holiday maker for the scarcity of crowd here.

The beaches of Puri are also renowned for the sand sculptures created particularly by the internationally famed Sudarshan Patnaik. The subjects are generally inspired by sculptures covering the temple walls, characters and episodes from the mythology and also the contemporary events. An entire beach stretch can be completely yours given the immense number of beaches in Odisha (Orissa) and a comparatively lower number of fun lovers, the city being a popular pilgrimage point for Indians.

The beach at Puri offers a unique opportunity to witness the striking sunrise and the sunset on the same beach. Often crowded with holiday makers bathing in the afternoon, and enjoying the brightly lit kiosks in the night, the stretches, parallel to the main Marine Drive Road, form the domain of the domestic tourists, with a row of hotels, food stalls and kiosks selling souvenirs.

A comparatively clean and quite place for sunbathing and a relaxed swim can be found at the eastern end. Local fishermen easily distinguishable by their triangular straw hats and dhotis serve as lifeguards on the beach, and take visitors out to sea in their boats to watch the sunsets. On the Chakratirtha side, the long stretch of golden sand is more tranquil and pleasant place to stroll. Take enough precaution while swimming as the currents can be treacherous in Puri.

It is interesting to visit a fishing village along the coast, with dozens of boats made of solid trunks ply off the coast during the day. Once landed, the rich catch of prawn, pamphlets and other fishes drawn into the nets is transferred to baskets. The best time to pay a visit is around dawn, when the fishermen head out from the village and row the fleet towards the rising sun over the sea.

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Ratnagiri, Lalitgiri & Udaigiri

Buddhism in Odisha (ancient Kalinga) is as old as the religion itself. Pali texts refer to Buddha's association with Tapasu and Bhallika, two businessmen from Kalianga, who are said to be the first disciples of the Buddha. While Kapilvastu, Bodhgaya and Saranath are places associated with Lord Buddha's life, Odisha was more associated with his teachings. The Chinese Traveller Hieun T’sang records to have seen more than one hundred Buddist monasteries including excellent centers of learning :Pu-si-po-ki-li and Po-lo-mo-lo-ki-li during his visit to Kalinga in 7th century AD. 

After the bloody Kalinga war in 261 B.C in Odisha (ancient Kalinga), Buddhism was virtually reborn and history took a u-turn as Emperor Ashoka became instrumental in spreading the message of peace across the globe and Buddhism was exported to Sri Lanka, Far-Eastern and South East Asian countries. Buddhism in all its forms and schools like Hinayana, Mahayana, Vajrayana, Kalachakrayana and Sahajayana flourished in Odisha in different periods almost unhindered from 3rd century B.C to 15th century AD. During the reign of Bhaumakara dynasty in Odisha (8th to 10th Century AD), Buddhism reached its zenith.

Magnificent monuments-Stupas, Chaityas, Viharas, colossal images of the Buddha and the Buddhist Pantheon and also a few of Emperor Ashoka built over centuries stand witness to the hoary past till today. Discovery of a golden casket containing the bone relics, probably of the Tathagata enhances the sanctity of the ancient land.

Modern Odisha is proud of carefully nurturing centuries old Buddhist Heritage spanning over 18 centuries spread through the length and breadth of the state

Though Buddhist sites lay scattered all over the State, Ratnagiri-Lalitgiri-Udayagiri complex has the largest concentration of Buddhist remains in Odisha. These three places constitute the Buddhist Triangle of the region, popularly known as Diamond Triangle of Odisha.

In close proximity lie a few more sites, the most prominent among which is the recently excavated site at Langudi.

Raghurajpur

On the cultural canvas of India, the village of Raghurajpur is a master stroke. The quaint huts and palm groves shelter microcosms of unrivalled artistic heritage. No where in the world does one get to see such an assemblage of artworks in one single place, other than in this unique village situated in the state of Odisha. Thatched and brick houses having high plinths with sit-out platforms serve as outdoor studios where artists are seen engrossed in intricate detailing.

Thick groves of coconut, palm, mango, jack fruit…paddy fields dotted with betel vines, and the river Bhargavi flowing by… this idyllic backdrop befits the creative leanings of the artisan village. Each family is engaged in nurturing the art legacy of their ancestoThick groves of coconut, palm, mango, jack fruit…paddy fields dotted with betel vines, and the river Bhargavi flowing by… this idyllic backdrop befits the creative leanings of the artisan village. Each family is engaged in nurturing the art legacy of their ancestors. No doubt, the Pattachitra stands out conspicuously as an accomplishment in exquisite workmanship, but the buck does not stop here… an array of other craft items - palm leaf inscriptions, stone and wood carvings, papier mache, sodhai work, mural painting, wooden and cow dung toys, filigree, applique, terracotta - are created and proudly displayed in the dainty households. 

Alongside, the Gotipua Gurukul Academy has nurtured Raghurajpur's illustrious Odissi dance tradition of Guru Kelucharan Mohapatra. The rows of houses facing each other are entwined with a series of temples, the village square and the community meeting place. A strong religious current runs through the village. Along with the local deity, Bhuasuni, all the major Hindu gods are revered in the village.

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