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{{Short description| | {{Short description|Odia poet}} | ||
{{EngvarB|date=August 2014}} | {{EngvarB|date=August 2014}} | ||
{{Use dmy dates|date=August 2014}} | {{Use dmy dates|date=August 2014}}{{Infobox writer <!-- for more information see [[:Template:Infobox Writer/doc]] --> | ||
{{Infobox writer <!-- for more information see [[:Template:Infobox Writer/doc]] --> | | name = Upendra Bhanja | ||
| name = Upendra Bhanja | |||
| honorific_prefix = Kabi Samrāṭa | | honorific_prefix = Kabi Samrāṭa | ||
| honorific_suffix = Bīrabara | | honorific_suffix = Bīrabara | ||
| native_name = '''ଉପେନ୍ଦ୍ର ଭଞ୍ଜ''' | | native_name = '''ଉପେନ୍ଦ୍ର ଭଞ୍ଜ''' | ||
| native_name_lang = or | | native_name_lang = or | ||
| image = Upendra Bhanja. | | image = Odissi musician poet Kabi Samrat Upendra Bhanja.jpg | ||
| caption = | | caption = | ||
| occupation = King & Poet | | occupation = King & Poet | ||
| language = [[Odia language|Odia]] | | language = [[Odia language|Odia]] | ||
| period = ''Riti juga'' or ''Bhanja juga'' | |||
| period = ''Riti juga'' or ''Bhanja juga'' | | notableworks = ''Baidehisha Bilasa'' | ||
| notableworks = ''Baidehisha Bilasa'' | | imagesize = 250px | ||
| imagesize = 250px | | birth_date = <!--{{birth date |df=yes|YYYY|MM|DD|}}--> | ||
| birth_date = <!--{{birth date |df=yes|YYYY|MM|DD|}}--> | | birth_place = Kulagarh (present-day [[Kulada, Ganjam]], Odisha, India) | ||
| birth_place = [[ | | death_date = 1740 (Not Confirmed) | ||
| death_date = 1740 | | genre = [[Odissi music]] | ||
| genre = [[Odissi music]] | |||
}} | }} | ||
''Kabi Samrata'' '''Upendra Bhanja''', {{IPA|or|upend̪ɾɔ bʰɔɲd͡ʒɔ|lang|LL-Q33810 (ori)-Sangram Keshari Senapati (Ssgapu22)-ଉପେନ୍ଦ୍ର ଭଞ୍ଜ.wav}}) was a 17th-century [[Odia language|Odia]] poet and a composer of classical [[Odissi music]].<ref name="mansingha">Mansingha, Mayadhar: ''History of Oriya Literature'': Publisher, Sahitya Akademi, Delhi</ref> He is most known for his Odissi songs and kabyas written in the Odia language, primarily ''Baidehisa Bilasa, Labanyabati'' & ''Koti Brahmanda Sundari''. | |||
He was born during 1670 (opinions differ between 1670 and 1688) in ''Kulagarh'', [[Bhanja dynasty#Ghumusar branch|Ghumusar Zamindari]], present day [[Kulada, Ganjam|Kulada]] near [[Bhanjanagar]], 80 kms from the Silk City [[Brahmapur, Odisha]] and died during 1740 (again opinions vary). | |||
His first wife was the sister of the king of [[Nayagarh]] and the daughter of the king of [[Banapur]] was his second wife, who was an erudite princess and gave Upendra Bhanja poetical inspiration in an abundant measure. His grandfather King Dhananjaya Bhanja was a great poet and wrote ''Raghunatha Bilasa'' (The Ramayana), Ratna Manjari (a poetical romance) etc., which provided models to the prince for writing. But unlike his grandfather, he preferred his entire life to poetry rather than to ruling over a kingdom. He had a thorough training in Sanskrit classical literature and mastered Sanskrit dictionaries such as [[Amarakosha|Amara Kosha]], [[Trikanda Kosha]] and [[Medini Kosha]]. He even wrote a dictionary ''Geetabhidhana'' in Odia for helping poets. The town of [[Bhanjanagar]] is named after him. The music of Upendra Bhanja is central to [[Odissi music]], the traditional classical music of the state of [[Odisha]] and Bhanja is widely respected as one of the greatest Odissi composers of all time. | |||
The first published work of Upendra Bhanja is "Rasapanchaka". The first dictionary "Gita Abidhan" was written by Upendra Bhanja in [[Odia literature]]. Kabi | ==Kabyas== | ||
Upendra Bhanja wrote some 52 books of which only 22 are available now. Due to the absence of a printing press, a number of the hand-copied books have been lost. Some of his eminent kabyas are Baidehisha Bilasa (with "Ba" initial for each line), Rasalila, Brajaleela, Subhadra Parinaya(with "Sa" initial for every line), Labanyabati, Premasudhanidhi, Rasika Harabali, Subhadra Parinaya and Chitrakabya Bandodhya, Labanyabati, Koti Brahmanda Sundari, Kala Koutuka (with "Ka" initial for every line), Satisha Bilasa" (with initial 'Sa' initial every line), "Damayanti Bilasa" (with 'Da' initial each line) and "Padmabati Parinaya" (starts with 'Pa') etc.<ref name="mansingha" /> | |||
The first published work of Upendra Bhanja is "Rasapanchaka". The first dictionary "Gita Abidhan" was written by Upendra Bhanja in [[Odia literature]]. 'Kabi Samrata' was not the first title of Upendra Bhanja. He was rather entitled as "Birabara" as written by Bhanja himself in his kabyas. {{Verse translation|{{lang|or|ବୀରବର ପଦ ଉପଇନ୍ଦ୍ର ମୋର ନାମ । | |||
ବାରେ ବାରେ ସେବାରେ ମନାଇଁ ସୀତାରାମ ।}}|''Birabara'' is the epithet, my name is Upendra | ବାରେ ବାରେ ସେବାରେ ମନାଇଁ ସୀତାରାମ ।}}|''Birabara'' is the epithet, my name is Upendra | ||
By serving Sita and Rama have I received their grace.|attr1=Chhanda 52, ''Baidehisha Bilasa''|attr2=|italicsoff=yes}} | By serving Sita and Rama have I received their grace.|attr1=Chhanda 52, ''Baidehisha Bilasa''|attr2=|italicsoff=yes}} | ||
The epithet ''Kabi Samrata''is found only in the early part of 19th century in a book written by Mahendra Patnaik. Upendra Bhanja contributed 32,300 words to [[Odia language]] and literature.The obscurity of this incomparable poet of [[Odia literature]], may be attributed to the lack of proper research. Plot and character in Bhanja literature plays negligible role but imaginary ornamental expression by way of literary techniques of the classical Indian literature dominates with magnetic, lovable, intellectual manner. | The epithet ''Kabi Samrata'' is found only in the early part of 19th century in a book written by Mahendra Patnaik. Upendra Bhanja contributed 32,300 words to [[Odia language]] and literature.The obscurity of this incomparable poet of [[Odia literature]], may be attributed to the lack of proper research. Plot and character in Bhanja literature plays negligible role but imaginary ornamental expression by way of literary techniques of the classical Indian literature dominates with magnetic, lovable, intellectual manner. | ||
So, study of Upendra Bhanja requires high academic pursuits as well as sensible appreciation of art and literary value of the reader along with wide study range in the field of classical Indian literature and appreciable order of morality and spiritual thought.{{Citation needed|date=September 2010}} So for Upendra Bhanja, plot and character are not important but momentous feeling influences the character as well as the plot in the structural poetic forms and techniques with explosive reason and emotion in a way of synthetic, stylistic approach in almost all aspects of his expression through [[Odia language]], literature, culture, socio-cultural behaviour, with high moral order and thoughts of superior human being. | So, study of Upendra Bhanja requires high academic pursuits as well as sensible appreciation of art and literary value of the reader along with wide study range in the field of classical Indian literature and appreciable order of morality and spiritual thought.{{Citation needed|date=September 2010}} So for Upendra Bhanja, plot and character are not important but momentous feeling influences the character as well as the plot in the structural poetic forms and techniques with explosive reason and emotion in a way of synthetic, stylistic approach in almost all aspects of his expression through [[Odia language]], literature, culture, socio-cultural behaviour, with high moral order and thoughts of superior human being. | ||
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The first Ph.D thesis on Bhanja was submitted by Dr. Satyanarayan Acharya, the First Researcher on Upendra Bhanja, in the year 1978 under UGC sponsorship. Consequently, in the year 1988 Dr. Abhimanyu Baral submitted the thesis "Odia reetikabya paramparare Baidehisha Bilasa" to [[Utkal University]], [[Bhubaneswar]]. | The first Ph.D thesis on Bhanja was submitted by Dr. Satyanarayan Acharya, the First Researcher on Upendra Bhanja, in the year 1978 under UGC sponsorship. Consequently, in the year 1988 Dr. Abhimanyu Baral submitted the thesis "Odia reetikabya paramparare Baidehisha Bilasa" to [[Utkal University]], [[Bhubaneswar]]. | ||
== | ==Music== | ||
{{Odissi Classical Music sidebar}} | {{Odissi Classical Music sidebar}} | ||
The | The works of Upendra Bhanja are based on [[Odissi music|Odissi classical music]]. He uses ragas and talas unique to the Odissi tradition and has thereby enriched the repertoire. His compositions are well-known across the state of Odisha and are frequently employed in [[Odissi|Odissi dance]] as well as [[Gotipua]], Sakhi Nata, [[Prahallada Nataka]], Radha Prema Lila and other allied artforms. Some of the ragas frequently used by Bhanja are : ''Bangalasri, Baradi, Basanta, Basanta Baradi, Bibhasa Gujjari, Chinta Bhairaba, Ghantaraba, Kalahansa Kedara, Kali, Kamodi, Khanda Kamodi, Kousika, Kumbha Kamodi, Malaba, Mangala Baradi, Mangala Gujjari, Natanarayana, Nalinigouda, Pahadia Kedara, Panchama Baradi, Pattaha Manjari (Pattamanjari), Rajabije (Ranabije), Ramakeri, Sankarabharana, Soka Kamodi'' among others.<ref name=":1">{{Cite book |last=Parhi |first=Dr. Kirtan Narayan |title=The Classicality of Orissi Music |publisher=Maxcurious Publications Pvt. Ltd. |year=2017 |isbn=9788193215128 |location=India |pages=383}}</ref><ref>{{Cite book |last=Panda |first=Pt. Gopal Chandra |title=Odisi Raga Darpana |date=December 2011 |location=Bhubaneswar |language=or |author-link=Gopal Chandra Panda}}</ref><ref name=":32">{{Cite book |last=Das |first=Ramhari |title=Odissi Sangeetara Parampara O Prayoga |publisher=Kaishikee Prakashani |year=2004 |location=Bhubaneswar, Odisha |language=or |script-title=or:ଓଡ଼ିଶୀ ସଙ୍ଗୀତର ପରମ୍ପରା ଓ ପ୍ରୟୋଗ |trans-title=The tradition and method of Odissi music |author-link=Ramhari Das}}</ref><ref>{{Cite book |last=Panda |first=Pt. Gopal Chandra |title=Odisi Raga Ratnabali |year=2004 |location=Bhubaneswar |language=hi |script-title=hi:ओडिसी राग रत्नावली |oclc=225908458 |author-link=Gopal Chandra Panda}}</ref> Bhanja belonged to a family that was rooted in literature and music of the times, and his grandfather Dhananjaya Bhanja was an eminent composer of Odissi songs and the writer of a Ramayana ''kabya''. | ||
==Style== | |||
Upendra Bhanja wrote in the last decade of seventeenth and the early decades of eighteenth century and championed a style of poetry called 'Reeti' and 'Deena' in Sanskrit poetics. Though a number of poets in the seventeenth and eighteenth centaurs write in reeti style, Upendra Bhanja is decided by the greatest of them all. Whether it is shringara, viraha, bhakti or karuna rasa, Upendra Bhanja is the poet of unsurpassed rhetorical excellence. We may venture to say that, apart from Sanskrit, no other language has a poet to compare with him. Upendra Bhanja had practiced his great poetic talents in using "upama","alankara", "rasas"in all his kabyas. | |||
The greatness of Upendra Bhanja was in his "Alankara" use such as: Anuprasa, Jamak, etc. The style of presenting facts with comparable factors (upama) is distinguishable in his | |||
Upendra Bhanja | “Baidehisha Bilasa” is the pioneer work of Upendra Bhanja as declared by the poet."Rasika Harabali" was written on the basis of his own experience at the early part of his young life.His contemporary poet of Bhakta Kabi, Dina Krushna Das as described in his work “Kala Koutuka”. The socio-cultural way of contemporary Odias are vividly described in his literature .Upendra Bhanja is not only eminent poet of [[Odisha]] but also his writings will be explained through all classical contemporary music systems of [[India]] | ||
==See also== | ==See also== | ||
| Line 56: | Line 55: | ||
* [[Odia language]] | * [[Odia language]] | ||
* [[List of Odia writers]] | * [[List of Odia writers]] | ||
* [[List of Indian poets]] | |||
==References== | ==References== | ||
| Line 61: | Line 61: | ||
==External links== | ==External links== | ||
* [http://orissadiary.com/personality/poet/UPENDRA_BHANJA%20.asp orissadiary.com: Upendra Bhanja] | * [http://orissadiary.com/personality/poet/UPENDRA_BHANJA%20.asp orissadiary.com: Upendra Bhanja] {{Webarchive|url=https://web.archive.org/web/20120717045343/http://orissadiary.com/personality/poet/UPENDRA_BHANJA%20.asp |date=17 July 2012 }} | ||
{{Odissi music}} | {{Odissi music}} | ||
{{Odia literature}} | {{Odia literature}} | ||
{{Authority control}} | {{Authority control}} | ||
{{DEFAULTSORT:Bhanja, Upendra}} | {{DEFAULTSORT:Bhanja, Upendra}} | ||
[[Category:Year of birth uncertain]] | [[Category:Year of birth uncertain]] | ||
[[Category:1740 deaths]] | [[Category:1740 deaths]] | ||
[[Category:Odia people]] | |||
[[Category:People from Ganjam district]] | |||
[[Category:Indian male poets]] | |||
[[Category:Poets from Odisha]] | |||
[[Category:Odia-language poets]] | |||
[[Category:Odissi music composers]] | [[Category:Odissi music composers]] | ||
[[Category:17th-century Indian poets]] | |||
[[Category:17th-century Indian male writers]] | |||
Latest revision as of 18:20, 24 January 2026
Kabi Samrāṭa Upendra Bhanja Bīrabara | |
|---|---|
 | |
| Native name | ଉପେନ୍ଦ୍ର ଭଞ୍ଜ |
| Born | Kulagarh (present-day Kulada, Ganjam, Odisha, India) |
| Died | 1740 (Not Confirmed) |
| Occupation | King & Poet |
| Language | Odia |
| Period | Riti juga or Bhanja juga |
| Genre | Odissi music |
| Notable works | Baidehisha Bilasa |
Kabi Samrata Upendra Bhanja, or) was a 17th-century Odia poet and a composer of classical Odissi music.[1] He is most known for his Odissi songs and kabyas written in the Odia language, primarily Baidehisa Bilasa, Labanyabati & Koti Brahmanda Sundari.
He was born during 1670 (opinions differ between 1670 and 1688) in Kulagarh, Ghumusar Zamindari, present day Kulada near Bhanjanagar, 80 kms from the Silk City Brahmapur, Odisha and died during 1740 (again opinions vary).
His first wife was the sister of the king of Nayagarh and the daughter of the king of Banapur was his second wife, who was an erudite princess and gave Upendra Bhanja poetical inspiration in an abundant measure. His grandfather King Dhananjaya Bhanja was a great poet and wrote Raghunatha Bilasa (The Ramayana), Ratna Manjari (a poetical romance) etc., which provided models to the prince for writing. But unlike his grandfather, he preferred his entire life to poetry rather than to ruling over a kingdom. He had a thorough training in Sanskrit classical literature and mastered Sanskrit dictionaries such as Amara Kosha, Trikanda Kosha and Medini Kosha. He even wrote a dictionary Geetabhidhana in Odia for helping poets. The town of Bhanjanagar is named after him. The music of Upendra Bhanja is central to Odissi music, the traditional classical music of the state of Odisha and Bhanja is widely respected as one of the greatest Odissi composers of all time.
Kabyas[edit | edit source]
Upendra Bhanja wrote some 52 books of which only 22 are available now. Due to the absence of a printing press, a number of the hand-copied books have been lost. Some of his eminent kabyas are Baidehisha Bilasa (with "Ba" initial for each line), Rasalila, Brajaleela, Subhadra Parinaya(with "Sa" initial for every line), Labanyabati, Premasudhanidhi, Rasika Harabali, Subhadra Parinaya and Chitrakabya Bandodhya, Labanyabati, Koti Brahmanda Sundari, Kala Koutuka (with "Ka" initial for every line), Satisha Bilasa" (with initial 'Sa' initial every line), "Damayanti Bilasa" (with 'Da' initial each line) and "Padmabati Parinaya" (starts with 'Pa') etc.[1]
The first published work of Upendra Bhanja is "Rasapanchaka". The first dictionary "Gita Abidhan" was written by Upendra Bhanja in Odia literature. 'Kabi Samrata' was not the first title of Upendra Bhanja. He was rather entitled as "Birabara" as written by Bhanja himself in his kabyas.
ବୀରବର ପଦ ଉପଇନ୍ଦ୍ର ମୋର ନାମ । |
Birabara is the epithet, my name is Upendra |
| —Chhanda 52, Baidehisha Bilasa |
The epithet Kabi Samrata is found only in the early part of 19th century in a book written by Mahendra Patnaik. Upendra Bhanja contributed 32,300 words to Odia language and literature.The obscurity of this incomparable poet of Odia literature, may be attributed to the lack of proper research. Plot and character in Bhanja literature plays negligible role but imaginary ornamental expression by way of literary techniques of the classical Indian literature dominates with magnetic, lovable, intellectual manner.
So, study of Upendra Bhanja requires high academic pursuits as well as sensible appreciation of art and literary value of the reader along with wide study range in the field of classical Indian literature and appreciable order of morality and spiritual thought.[citation needed] So for Upendra Bhanja, plot and character are not important but momentous feeling influences the character as well as the plot in the structural poetic forms and techniques with explosive reason and emotion in a way of synthetic, stylistic approach in almost all aspects of his expression through Odia language, literature, culture, socio-cultural behaviour, with high moral order and thoughts of superior human being.
On the other hand, his writings are being popularised by the commoners because of sensible, emotional touch with sympathetic unusual feelings of the human kind in the context of aesthetic sense and sensibility along with love and lovability of the mankind as experienced through the ages of time together.Strangely, without any deep appreciation of human value and literary appreciation with standard principles of study literature as prescribed in the research methodology and literary criticism with reference to classical Indian poetics, the poet Upendra Bhanja is being misunderstood by some pseudo critics/scholars and writers[who?] with biased opinions and unscrupulous baseless manners.
The first Ph.D thesis on Bhanja was submitted by Dr. Satyanarayan Acharya, the First Researcher on Upendra Bhanja, in the year 1978 under UGC sponsorship. Consequently, in the year 1988 Dr. Abhimanyu Baral submitted the thesis "Odia reetikabya paramparare Baidehisha Bilasa" to Utkal University, Bhubaneswar.
Music[edit | edit source]
The works of Upendra Bhanja are based on Odissi classical music. He uses ragas and talas unique to the Odissi tradition and has thereby enriched the repertoire. His compositions are well-known across the state of Odisha and are frequently employed in Odissi dance as well as Gotipua, Sakhi Nata, Prahallada Nataka, Radha Prema Lila and other allied artforms. Some of the ragas frequently used by Bhanja are : Bangalasri, Baradi, Basanta, Basanta Baradi, Bibhasa Gujjari, Chinta Bhairaba, Ghantaraba, Kalahansa Kedara, Kali, Kamodi, Khanda Kamodi, Kousika, Kumbha Kamodi, Malaba, Mangala Baradi, Mangala Gujjari, Natanarayana, Nalinigouda, Pahadia Kedara, Panchama Baradi, Pattaha Manjari (Pattamanjari), Rajabije (Ranabije), Ramakeri, Sankarabharana, Soka Kamodi among others.[2][3][4][5] Bhanja belonged to a family that was rooted in literature and music of the times, and his grandfather Dhananjaya Bhanja was an eminent composer of Odissi songs and the writer of a Ramayana kabya.
Style[edit | edit source]
Upendra Bhanja wrote in the last decade of seventeenth and the early decades of eighteenth century and championed a style of poetry called 'Reeti' and 'Deena' in Sanskrit poetics. Though a number of poets in the seventeenth and eighteenth centaurs write in reeti style, Upendra Bhanja is decided by the greatest of them all. Whether it is shringara, viraha, bhakti or karuna rasa, Upendra Bhanja is the poet of unsurpassed rhetorical excellence. We may venture to say that, apart from Sanskrit, no other language has a poet to compare with him. Upendra Bhanja had practiced his great poetic talents in using "upama","alankara", "rasas"in all his kabyas.
The greatness of Upendra Bhanja was in his "Alankara" use such as: Anuprasa, Jamak, etc. The style of presenting facts with comparable factors (upama) is distinguishable in his
“Baidehisha Bilasa” is the pioneer work of Upendra Bhanja as declared by the poet."Rasika Harabali" was written on the basis of his own experience at the early part of his young life.His contemporary poet of Bhakta Kabi, Dina Krushna Das as described in his work “Kala Koutuka”. The socio-cultural way of contemporary Odias are vividly described in his literature .Upendra Bhanja is not only eminent poet of Odisha but also his writings will be explained through all classical contemporary music systems of India
See also[edit | edit source]
References[edit | edit source]
- ↑ 1.0 1.1 Mansingha, Mayadhar: History of Oriya Literature: Publisher, Sahitya Akademi, Delhi
- ↑ Parhi, Dr. Kirtan Narayan (2017). The Classicality of Orissi Music. India: Maxcurious Publications Pvt. Ltd. p. 383. ISBN 9788193215128.
- ↑ Panda, Pt. Gopal Chandra (December 2011). Odisi Raga Darpana (in ଓଡ଼ିଆ). Bhubaneswar.
{{cite book}}: CS1 maint: location missing publisher (link) - ↑ Das, Ramhari (2004). Odissi Sangeetara Parampara O Prayoga ଓଡ଼ିଶୀ ସଙ୍ଗୀତର ପରମ୍ପରା ଓ ପ୍ରୟୋଗ [The tradition and method of Odissi music] (in ଓଡ଼ିଆ). Bhubaneswar, Odisha: Kaishikee Prakashani.
- ↑ Panda, Pt. Gopal Chandra (2004). Odisi Raga Ratnabali ओडिसी राग रत्नावली (in हिन्दी). Bhubaneswar. OCLC 225908458.
{{cite book}}: CS1 maint: location missing publisher (link)
External links[edit | edit source]
- orissadiary.com: Upendra Bhanja Archived 17 July 2012 at the Wayback Machine
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