CASIRJ Volume 11 Issue 8 [Year - 2020] ISSN 2319 – 9202

Buddhism and Oriya Literature

Dr. Rajani Kumari

Research Scholar
University of Delhi

The psyche of Oḍiyā is greatly influenced by Buddhist religion, philosophy and culture
since centuries. The two Oriya (Oḍiyā) merchants, Tapassu and Bhallika were made the first two
disciples of Lord Buddha near Rajgṛha (Rajgir) as per the Buddhist sources like the Mahāvagga
of the Vinaya Piṭaka. Both in Jātaka and the early Pāli texts, Kāliṅga features extensively. Aśoka
became dharmāśoka, after the great Kāliṅga war (261 BC), embraced Buddhism in Kāliṅga and
accepted Dharmarakṣita as his religious advisor. As found evident from the Ceylonese sources
like Dāthāvanśa composed by the poet Dharmakīrti in AD 300, there were good cultural contacts
between Orissa and Ceylon since long. During Aśoka's time, his youngest brother, Tissā
remained in Kāliṅga and dedicated himself towards spreading Theravada Buddhism in that
region.
The Sarvāstivādins developed the doctrine of the Pāramitās in order to popularize
Bauddha dharma and darśana, which strongly were taken into the very life of a Bodhisattva.
Those were considered as the great source of spiritualization and were greatly respected. There is
the mention of six Pārarmitās as it is in the Lalitāvistāra (an important text of the Sarvāstivāda)
which are Dānapāramitā, Silā-Pāramitā, Kṣānti Pāramitā, Vinaya-Pāramitā, Dhyāna Pāramitā
and Prajñā Pāramitā. It is evident that while the first five mostly deal with moral code and
conduct to be followed in general human living, the abstract philosophical tattva like dharma-
śūnyatā is dealt with in the last one. The Mahayanists accepted the developed literature, Prajñā
Pāramitā with great zeal. According to the historians, the Aṣṭasana Prajñā -Pāramitā is the
earliest Prajñā -Pāramitā literature. N. Dutta, a reputed scholar, holds that Kāliṅga/Tosali is the
place of earliest rise of Mahāyanism (Foreword to Buddhism in Orissa) on the basis of the
Gaṇḍavyāha (a work of the AD 300), and the Lankāvatāra sources. Its corroboration by the
Tibetan sources Lāmā Tārānāth and Pag Sam Jon Zang can also be seen.
Mahāyāna Buddhism spread all over Orissa between AD 100—700. Parimalagiri (at the
border of Bolnagir and Sambalpur districts, known also as Gandhamardangiri) Suravagiri
(identified as Dhauligiri, 8 kims away from Bhubaneswar city in south), Bhorasaila (near
Delanga of Puri district) and Che li-ta-lo identified by Cunningham as Puri) were the great Pīṭhas
where Buddhist monasteries were built and where Bauddha dharma and darśana were advocated

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and discussed. Mādhyamika and Yogācāra were the two formulations of Mahāyāna in Orissa. At
Parimalagiri, Mādhyamika was studied and propagated whereas for Yogācāra, Ratnagiri (about
20 kms away from Cuttack in the north-east) was the main centre by AD 500. The prominent
Buddhists in Parimalagiri were Nāgārjuna and Āryadeva. In Tārānāth's opinion, Pitopāda was
greatly associated with Ratnagiri and his two disciples were Bodhiśrī and Nāropā.
Gradually the Mādhyamika Buddhism had been considerably modified in Orissa. It was
attempted to deify Lord Buddha. The assimilation of the gods and goddesses of the Vedikā
dharma into Bauddha-dharma can be seen. Mahāyāna was modified into Tantrayāna in this
context. The inclusion of the tantric esoteric practices into the Buddhistic fold helped in
formulating Vajrayāna, Sahajayāna and Kālacakrayānas in the land of Orissa, being well
patronized by the then Buddhist rulers. The then Buddhist thinkers not only took the Buddhist
philosophy at the theoretical level and Tāntricism at the practical front with greater zeal but also
remarkably influenced the Oriya literature and culture in general.
It is notable that Tantric Buddhism had its strong footing in Orissa from AD 600 to 1200,
while it was not so propagated and practiced in other parts of India. Mahāyāna Buddhism
composed dohās or Caryāgītis (devotional cum esoteric songs) during that period and some
portions of which are found to be the rudimentary formulations (apabhraṁśa) of Oriya language.
The Buddhist Siddhācāryas composed the dohās. In later times the salient, features of the
Bauddha dharma and darśana were found to have a noticeable impact on Oriya literature as
reflected in the Hinayāna, Mahāyāna and Tantrayāna phases.
The depiction of the Buddhist emphasis on transitoriness of worldly life (Sāmsāric
Jīvana), its intrinsic inessentiality (isvabhāvatā) can be seen in detail in different Oriya literary
pieces. The frequent reference of the Mādhyamika's emphasis on Śūnya and its adoption can be
seen in Oriya literary thought and reflection. There were four types of Śūnya advocated by the
Sahajayanists which include Śūnya, Atiśūnya, Mahaśūnya and Prabhāsvara Śūnya. These types
of Śūnya are referred to by Acyutananda Dāsa, Balarama Dāsa Yasovaṇṭa Dasa. In Viṣṇugarbha
Purāṇa, Caitanya Dasa, later, writer deals extensively with the concept of Śūnya.
It is interesting to note that there is the reference of the three types of Śūnya in Mahimā,
which is a much later religio-philosophical movement (19th Century AD). Bhīma Bhai was first
to indicate about Śūnya in three forms, i.e. Sthūla-Śūnya Pūra (a solid void which is thought to
be the abode of Nirākāra) Mahānityā Śūnya-bhūvaṇa (the abode of Mahimā-svāmi) and the
Alekha Śūnya – Bhūvaṇa (the abode of Alekha) as well as to codify the Mahimā thought and
reflection in his number of Bhajanās (devotional songs).
A strong impact of the Buddhist Tantrayāna can also be seen on the psyche of Oḍiyā.
Sarha (AD 633) was its early exponent, who according to the Tibetan source, was born in
Odivisā (Orissa) and composed dohās.
Nāgārjuna (AD 790) was his disciple who was born at Kanchi and resided in Śrīparvata
in Andhra. He was a great tantric and practiced Sādhanās like Mahākāla, Kurukutta and
Mahāmāyā. He was a vajrayanist and also the worshipper of Vajratārā. Śabarīpada (AD 657)
was his disciple who was associated with Orissa. His proficiency in Kurukulla Sādhanā and
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Vajrayoginī cult was attained. There is similarity found in Savaripāda's description of Śavara
girl, her dress and ornaments (in Caryāgīti 28) with the description given in Sāralā Mahābhārata
(Madhya parva). The state of mind as restless (Cañcala-citta) needs to be stable is recommended
in Caryāgīti 21. The Oriya poet of later time (Acyutānanda's Brahma Śānkuli) has also depicted
the same.
According to Pag Sam, Jon Zang Source, Luipā (AD 669) was from a fisherman's family
in Uddīyana (somewhere near River Prāci). He is also credited with some treatises in Oriya (like
Tattva Svabhāvadṛṣti Dohākośogītikā and Luipādagītikā) apart from some of his treatises in
Sanskrit language (Vajra Sattva Sādhana, and Buddhodaya).
Achyātananda Dāsa, Ananta Dāsa, Balarama Dāsa, Jagannatha Dāsa and Yasavanta Dāsa
are the five great Vaisnavites who propagated the Oriya Vaisnavism which is usually known as
propagating jñāna-miśrā-bhakti (devotion blended with knowledge).All these thinkers have been
found as remarkably close to Buddhism, specially its doctrine of Śūnyatā, Despite their
allegiance to Vaisnava faith. In Śūnya-saṁhitā, Achyatānanda maintains that Śūnya is nothing
but Brahman itself (Brahma-Śūnya) and it is to be realized that the concept of Kṛṣna or Rādhā is
not different or distinct from Śūnya-Brahma. In Brahmāṇḍa Bhūgola, Balarām holds that
originally everything was Śūnya and the Śūnya-puruṣa or Brahman had a desire to create out of
himself, there was the emergence of one bindu which subsequently was divided into three parts
and then there was the creation of Brahmā, Viṣṇu and Maheśwara. In Premā bhakti Brahmagītā,
Yaśavanta refers to the concept of Śūnya in the similar way and mentions four kinds of Śūnya.
Jagannatha has referred to the Lord Buddha with clear sense of adoration although he has not
discussed about Śūnya in detail. He holds that the appearance of Lord Jagannatha in the world as
Buddha is to establish the nirguṇa-tattva. It is revealed through all this that Bauddha dharma has
never been felt as antagonistic to the age-old Vedic concept of Brahman or Paramapuruṣa. It has
been attempted to assimilate Bauddha dharma and darśana. The incorporation of the Vedic gods
and goddesses in the Buddhistic faith and practices has been found especially in different forms
of Tantrayāna. During that period, the Oriya literature is found to have accepted the
reconciliatory move and it popularized this trend among the masses by means of composing
devotional treatises consisting of bhajanās, jaṇāṇas and gīti-kāvyas.
Sahajayāna is one of the important formulations of Tantrayāna. Śūnyatā is identified
with Vajra in Vajrayāna and it is found that special emphasis has been given by Kālacakrayāna
on esoteric practices (Gupta Sādhanās) and holds that creation is possible due to the co-operation
and union between Kāli and Buddha, Sahajayāna is mainly found to have been put forward for
consideration by Laksmīkarā, the sister of Indrabhūti. Jalandharipada and his disciples
Virupācārya and Kṛṣnacārya/Kāhṇupada supported her. It is held by all these Sahajayanists that
the whole universe (Brahmāṇḍa) is within the body (Piṇḍa/Sarīra). Human body is viewed as the
microcosm of the whole universe as such great importance is given to it. Sāraladāsa in his
Mahābhārata has clearly indicated that body is the abode of all gods. In the similar way,
Balarama Dāsa holds that Brahmaṇḍa is revealed in all Piṇḍas. In Yasovanta's opinion, both

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Piṇḍa and Brahmaṇḍa are essentially one and the same. Achyutānanda Dāsa expresses the view
similarly.
The culture of body (Kaya-Sadhana) has been emphasized by the Buddhist Sahajayanists
through a peculiar esoteric process (hatha-yoga). According to this yogic practice, through the
union of two main side nerves near the spinal card Ida (left side) and Pingala (right side) by
means of the middle nerve (Susumna), the sahaja nature of supreme bliss is reasonable. There are
found to be a number of references about the Kaya Sadhana by the adoption of different poetic
imaginaries and comparisons in the sāratta Mahabharata and also in the Oriya Vaisnaviti
literature. In the Sarala Mahabharata, the goddess Kamaksa is said to have explained culture of
the body to Bhīma and Arjuna. Ida is compared as candra (moon) and pingla as Sūrya (Sun) by
Achyutānanda Dasa. It is further described that trikuta or triveni is the meeting place of the three
nerves Ida, Pingala, and Susumna. The Sahaja has been taken up by Achyutānanda Dasa. It is
further described that trikuta or triveni is the meeting place of the three nerves Ida, Pingala, and
Susumna. The Sahaja has been taken up by Achyutānanda Dasa and he has moved to the extent
of adverting Rama's disciple for practicing Sahaja-sadhana.
In Orissa, Tantric Buddhism has not only adored the general theistic temper but it has
also gradually assimilated within its fold the strongly rooted religious cult of Jagannatha. The
Identification of Jagannatha at Puri is never found with any particular Vedic/Puranic
god/Goddess. As far as the image of Jagamatha is concerned, different Vedantacaryas who
visited Puri have read their own meanings. It is an image of any being without any definite shape
or size. It is the symbol of Nirākāra nirguṇa para Brahman of the Upanishads and similarly, it is
also the symbol of indeterminable Śūnya to which there can be no categories (Koṭi) applied. That
is how the Vaisnavites, the Nirguṇa. Advaitins, theistic Visistadvaitins and others have found not
to hesitate in the adoration of the deity. The unique point of confluence is responsible for both
theistic and Trans theistic convictions being found to have been integrated here. There is no
difficulty found to have been integrated here. There is no difficulty found by both the
Mahayanists and the Tantrayanists in such attempt of synthesis and therefore, have come forward
not only in accepting the deification of the Buddha but also the corollary suggestions like
reincarnation of the lord at the hour of need. Jāyādeva, the famous poet of Orissa, Ad. 1200 has
accepted the Buddha as the ninth avatāra (incarnation) of the Lord. Indrabhūti, the famous
Vajrayanist of AD 800 in the very first verse of his famous treatise Jnanasiddhi has prayed to
Jagannatha besides referring to his name on many occasions in the entire text. It is said that the
three jewels of Buddhism – Buddha, Dharma and saṁgha are represented in the Jagannatha cult
which is the trinity of Balarama, Jagannatha, and subhadra. One female in between two males,
i.e. said to be the symbolic presentations of Prajñā Upaya and samsara of the Buddhist fold.
According to Sarala Dasa, Jagannatha, the Lord the universe has been reincarnated as the
Buddha to destroy the evil and to establish the good.
In the writings of literary figures of the then Orissa, the impact of Buddhist tantric rites,
rituals and practices are noticed. Such ideas have been introduced in their poetic works with the
motive of preserving the socio-religious excellence. Jāyādeva has encouraged Parakiyapriti
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