ANCIENT Kalinga was great in every sphere of art and
culture. It is history.
The greatness was at its zenith during the regimes of Kalingadhipati
Maha Meghavahana Aira Sri Kharavela, two centuries before
Christ.
The supreme conqueror was not only one of the greatest connoisseurs of
art and culture but was also an exponent of all the 'Gandharba Vidyas', himself.
He had realised that to boost up the morale of the doomed populace of a great
culture was greatly essential. With this conviction, he held Nata, Gita,
Badita,Usaba, and Samaja regularly. He built up Catara and Jathara everywhere in his kingdom.
One huge, Catara or Jathara (the main State Theatre ?)
which he built with 50 pillars bedecked with pearls, precious stones and jewels
has already been lost into the oblivion through the passage of ages. But Kharavela
was not an ordinary person. He knew the immense loss the nature can bring
during the course of time, by annihilating every trace of the existence of men
and materials. He could foresee every thing lost. And so, he left his
documentary evidences engraved on the rocks, which he felt would remain at
least for a few millenniums before being wiped off by weather.
The Hatigumpha Inscription.
And so, beside the multi-sized caves of Khandagiri and
Udayagiri at Bhubaneswar,Orissa, we have the inscriptions of Kharavela in
front of the Hati Gumpha, which after over two thousand years, give us
the glimpses of the glory that was Kalinga.
In its fifth line
the inscription reads :-
This means 'Expert in Gandharva Veda or all
histrionic arts himself, Kharavela, arranged for the entertainment of
his citizens, items such as Dapa(Combats),Nata(Dance),Gita(Music),Vadita(Orchestra),Usaba(festival)
and Samaja(Plays).
Incidentally all these words in Prakrut of this
sentence are still phonetically similar to the words in vogue in the modern
Oriya language. The Samaja stands for the plays in Jatra of
Orissa as it was and still is, in use throughout the Oriya speaking areas since
time immemorial.
In its 13th line the inscription reads :-
This means that Kharavela built in his kingdom Vithi(Roads),Catara
or Jathara (Theatres ?)Palikhani(Channels), Gopurani
(Gates)and Siharani (Temples) etc.
We are mainly concerned with the second word in the above sentence. The
language of the inscription is Prakrut and is very close to Pali and is written
in Brahmi script. Some experts have deciphered this word to read Jathara.
In spite of this difference of opinion as to how the word will be pronounced
the meanings given by these experts to this term has affinity to each other.
The Sanskrit lexicon, besides giving many other meanings of this word
mentions that the word stands for CAVITY or interior of anything. And so, these
experts who have read it thus, have given us the meaning to be 'excellent
towers with carved interiors’. After all, a theatre is invariably like
the excellent towers with carved interiors'. Hence Jathara is
THEATRE.
'Choutara' stands for a circular or
square plot of level ground or a 'court yard surrounded by wall or houses, or
the Choutara'.'Choutara' means a raised square platform with open
space around it. In different dialects of India it is known as 'Chabutara'
or 'Chibutra' also. These Choutaras are very common every
where since the inception of civilization.
It has always been a must in community life, Meetings, Kirtans,
Bhajanas, Marriage and Thread ceremonies, Yajnas, and all types of
religious and social functions need a Chautara. For every
show business we depend on a Chautara, the built in raised
platform with open space all around it. In Orissa, almost all types of
histrionic performances of Jatra i.e. Leela, Suanga, Pala, Daskathia,
Gotipua, Sakhinata, Ghuduki, (or Dhuduki) Nata and the like shows, need
a 'Choutara' for their presentation. In absence of a suitable
built-in 'Choutara’ a raised improvised platform is made
out of wooden planks of bed cots known as 'Manchaa' and the
performances take place over it, surrounded by spectators on all sides.
A 'Choutara' is raised so that all that goes on, on it are
seen to a distance. It helps the angle of sight line for all people sitting
around it. In case of slope or gallery around, a raised middle may not be
needed and only the plain level ground will also do.
It is no wonder and is absolutely a fact that this 'Choutara' has
remained a true people's theatre in our country since time immemorial-daringly
intimate and most democratic in its design, the principles of which had perhaps
evolved since the beginning of the first human society on earth out of sheer
necessities.
Do we have any evidence of Kharavela's Choutara, I mean the
square platform with open space at it's sides ? There is the remnant of at
least one, a small one dilapidated and rearranged, located in front of the
Ananta cave built by Kharavela, which is supposed to be oldest
and the best preserved cave amongst the Khandagiri caves.
There we see a raised platform with open space around. Though the
topography has changed, the remnants of an ancient small 'Catara' on
the top of a hill and the space on the slope side bound by stone walls, gives
us an idea about the structure.
Tatwagumpha 1. |
Tatwagumpha 2. |
Similarly the Ganesh
Gumpha in Udayagiri has a huge open court yard in front of it (
images below )
|
|
|
What are those spots ? What are these structures so similar to each other
in their constructions? Why are the open spaces like court yards located near
these structures? Are these not Cataras or Jatharas
or places earmarked for Jatras. And the structures, I mean the
caves you see in the pictures consisting of rooms, verandahs, benches, pillars
and all, are nothing but places of 'NO ADMISSION' during the functions. These
are the so called green rooms of the modern theatre where artists do their make
up or retire.
Even to-day in Orissa and everywhere in our country, we find that Choutaras
are very much in use. Choutara of various sizes are located
everywhere, whether in urban or rural areas with sufficient space around, an
item of absolute necessity for the society living. It is the people's theatre
in the true sense of the term. It is the space of Jatra.
Since this Catara or Jathara is found to be a
most common thing and the type of Catara or Jathara we
are very much accustomed to, at present, do not need big planning nor budgeting
to finance it for its construction, how does this item turned to be an item of
so much importance that in those days. His Majesty the King,Kharavela,felt
the necessity of having it built everywhere in his kingdom so much so that he
felt the absolute necessity of including this item Jathara or Catara
more than once in his few lines of rock cut inscription, which gives
details of only his main achievements amongst many ?
These Catara or Jathara would
therefore definitely not be the common and the low cost mere Choutaras
of today. These, by all means were regular theatre halls, worthy to have
been constructed by an Emperor, who heartily had realised that "theatres
are the show places of a nation".
The Prakrut expression Catara or Jathara,
stands for the Sanskrit term Chatvara and the lexicon clearly gives us
the direct meaning of this word to be a stage, an amphitheatre, an arena etc.
amongst many others.
Incidentally both expressions of the same word Catara and Jathara
are directly and very closely inter-related in its meaning, as well as in
pronunciation to a most commonly used one word, Jatra in Oriya
the theatre.
The difference in the pronunciation is JA instead of CA and the THA instead
of TA and vice versa. Both JA and CA belong to the same CA class of consonants
of the Indian vocabulary.
As in to-day's common use Jatra takes place on a Choutara
or in otherwords a Jatra cannot take place or
presented, without a Choutara.
Since all other words in the same sentence, in the 13th line of Kharavela's
Hatigumpha inscriptions relate to what he built or constructed in
his kingdom, this word Catara or Jathara or Jatra
therefore, also directly related to a particular type of construction, construction
of a place where performing arts could be presented with ease for a gathering.
It is therefore the distinguished theatres, which he built for the
entertainment of his subjects, both hypaethral and the roofed ones.
At all times, Jatra relates to the place and sphere of
theatrical performances. The theatrical groups in Orissa are always known to be
the Jatra Dala or Jatra Mandali or Jatra
Walas. This Jatra Dala presents the Jatra
or theatre. In absence of permanent pandals earmarked for regular
theatrical presentations, the Jatra Dalas of today in Orissa have
turned peripatetic. These groups move from place to place and accommodate
themselves to present their Jatra shows at all assorted available
conditions. The Jatra groups individually specialise in their
repertory according to their choice i.e. Leela,Suanga,Pala,Daskathia,Ghudukinata,Rasa,Prahlada
Nataka, Desia Nata,Sakhinata etc.
Tropical climate, lack of proper patronisation, age-long foreign
dominations, low economic condition, inflow of outside influence, hatred of the
so called sophisticated, all combindly helped the indigenous Jatra not
to prosper. It is because of this that Jatra has invariably
turned to be rural and open air and the Jatrawalas always a wait
until fair weather.
As I have already stated, there is the repetition of the word Catara in
Kharavela's inscription. While just the plain word Catara
is in the 13th line, an adjective has been prefixed to it in the 16th line,
thus making the combined word Patalika Catara.
The 15th and 16th line read thus :
"Arahata-nisidiya samipe patbhare cha
varakara samuthapitahi anekajojanahitahi
panatisahi satasahasahi silahi silathambhani cha chetiyani cha karapayati"
"Patalika catare cha bedariya gabhe
thambhe patitthapayati panatariya sata sahasahi.
Bedariya neela bochhinnan checha jatthi
adhasatikan tiryan upadayati"
This means that near the slope of the mountains he [Kharavela]
built up a huge Patalika Catara [a Catara with
canopy of roof] having 50 stone pillars bedecked with precious stones at the
cost of rupees 75 lakhs and 35000 pieces of stone slabs collected from the best
quarries around.
While four pillars are sufficient to put on a canopy at the top of the
central platform more pillars are put up to hold the entire roof of the
auditorium all around the platform. And this Patalika Catara had
fifty pillars.
And hence, Kharavela's Patalika Catara was nothing but his
huge permanent State Theatre meant for a huge crowd where according to Kharavela's
own inscriptions Nata,Gita,Vadita,Usava and Samaja
were held regularly for the entertainment of his subjects.
And this theatre was built to be the most democratic in its design i.e.
the stage or the acting of performing area was in the centre with spectators
around, befitting the large heartedness of His Majesty the King Kharavela.
Its concept and the immense
varieties of its utilities.
During the passage of these thousands of years this main state theatre is
now lost but I vouch safe that slight traces of the remnants are still there to
prove beyond doubt that some unique structure was there long long ago.
The huge open space between the two hills Khandagiri and Udayagiri
is the exact spot where Kharavela's
Patalika Catara was located. During
these thousands of years, the huge roof and the pillars have crumbled down and
the stones have been carried away by men not knowing what it was or the
importance of it.
Similarly the debris must have been bull-graded, cleared and cut, to
allow the new pucca road to pass towards the Chandaka area from Bhubaneswar.
With whatever is left over for us to look bewildered and awe-inspired is
the still preserved section of a leveled open space with a section of a stone
lined gallery-like structure. This was octagonal in shape all around with plane
surface in the centre. The present condition of the existing structure gives us
the first impression that the structure is there to stop erosion of the hill
which is also correct. But the topography & the location of the premises, the surfaces of the nearby
caves, caves around and atop convinces that some unique structure was there
juxtaposed between the slopes of both the hills, the Khandagiri and the Udayagiri.
The present making of the huge ramp approach to the Hatigumpha
though does not seem to be antique; the foundation over which the present ramp
has been made seems to be of very queer type of engineering. The sides of the
ramp give a step like uneven ascent in stages and bound by admixture of
patterns.
On the western side of the ramp, there is a gallery like pattern. It is
true that ever since this place was discovered to be of some historical
importance, utmost care is being taken to preserve it as far as possible in
it's original shape. Things which
are considered to be the best as and when from time to time.
This was the place where the Patalika Catara was built by Kharavela.
While the whole thing was the Patalika Catara the
actual Catara was the area with or without the central platform
and the Patala or the roof was high up above resting on 50
pillars.
And the capacity of this Patalika Catara of the Top covered
theatre was for at least 20,000 spectators, if not more sitting all around.
How do the words sound the Catara (Chatwara or Choutara
etc.) or Jathara(Jatara or Jatra etc.)and the Theatre ?
How, the exact equivalent terms of the word 'theatre'
are pronounced in other language of the world ?
It is very interesting to note there is a close
phonetical affinity between all these words, Catara, Jathara, Jatra and
Theatre.
For all practical purposes, these terms carry the same
meaning and serve the same functions i.e. an acting area plus an auditorium
where performing arts can be presented with ease, to some spectators.
And in the case of Patalika Catara of Kharavela we
visualize that it was a fully developed permanent mass theatre with acting area
in the centre and spectators around.
But Kharavela did not stop there. In his efforts of practically
doing solid things for lasting effects, he had gone a step further.
The Patalika Catara was the huge State Theatre for
grand spectacles for the masses and so, what about the classes ?
Although I do not think there was any such distinct and wide difference
between the masses and classes as developed in later times and we know Kharavela's
life was a life of complete dedication to his people.
But, the king must also have his personal court
entertainers to entertain him, his family, his officials, his state guests. So
he should have a close intimate theatre for this purpose, worthy of a monarch.
An exponent of all arts (including the histrionic arts himself,) Kharavela
would not have left things in a mere manner. And so, within the precinct of the
double storied Rani Gumpha caves he had left another Catara
or Jathara, of course with a little difference from the
others, cut out of the solid rocks of Udayagiri and fortunately it is
still there for every body to see and stamp on it.
What is it if not a regular cave theatre,where Nata,Gita
Vadita,Usava and Samaja were being performed and the same can be
presented with ease even to-day ?
This Rani Gumpha or sometimes very fondly called the Ranihamsapur
or Raninaur, (the queen's palace) is for the layman, a
series of rock cut caves. For all historians it has always been a huge
monastery meant for Arhatas,Sramanas,Brhmanas,Jatis,Trapasas and Rishis.
But the grandeur of the pattern, the beautiful and luxurious design of the
structure, carving of amorous figures prove beyond doubt that this Ranigumpha
was not for heretics at all. For me and from now on for all, it is going to
be identified for all times to come, what exactly it is, for which it was built
by king Kharavela