This Book Is On The Drawings In The Palmleaf Manuscripts Of Orissa Drawn By The Scribes-Artists Who; Had No Family Background Of Art, No Training From Any Teacher.These Drawings Are Not Drawn By Pen Or Pencil But Etched By The Help Of An Iron Needle Called Style On Dry Palmleaves.They Are Based On The Text Of The Manuscripts And The Artists Have Shown Their Individuality In Their Drawings. They Are Successful In Expressing Their Feelings Through A Few Lines, Which They Have Drawn Spontaneously, But Precisely Within A Limited Space Of One To Two Inches (Which Is The Breadth Of The Palmleaf).

The book attempts to trace an overview of the different components that define the cultural landscape of the state of Odisha in relation to its history, religious cults, art, and literature and to link the development of the various aspects to the role played over the centuries by the Geeta Govinda poem in its different manifestations. From being an important component of the rituals performed in the Jagannath Temple to becoming an essential part of the people’s daily lives and artistic expressions, this immortal poem has exercised its influence on the cultural landscape of the state from its early inception in the twelfth century until present times. Religious beliefs, visual representations, performative expressions, and literary compositions have been influenced by the strong emotional appeal contained in its verses. Its musical structure, spiritual underline and histrionic content have been an essential font of inspiration in the process of the rediscovery of a cultural identity during the last century and continue to exercise a strong influence on the performing arts of the present times. Among all the art forms, the classical style of Odissi dance, the way it has been re-structured in the middle of the last century, is perhaps the one which bears the closest contact with the poem, almost being synonymous with it. The dance’s lyrical quality and its emotional appeal steeped in a long history of association with devotional and spiritual values make it an ideal form of visual expression for the literary content of the poem.

An exclusive selection of a set of forty-four exquisitely beautiful and hitherto unpublished ragamala paintings of Bijapur rendered in the Deccan style(19th century), in possession of the National Museum, Delhi since 1989 have been presented in 'Ragachitra: Deccani ragamala paintings. Miniature paintings of ragaputras and raginis in other medieval styles act as a foil, highlighting the various trends in vogue during the times as well as the special lyrical quality and originality of the Bijapur paintings, which stand apart in their vibrant visual appeal, depth and range of content and the perfect symphony created between art and music. A lucid narrative documenting the history of Indian classical music, the range of traditions of the raga theory and their miniature visual forms created in medieval India, accompanied by detailed descriptions of the paintings portrayed–highlighting their special features–de-mystifies the elements of the abstract and the obscure in the rationale supporting the unique and aesthetic marriage of music and art. Finally, it is a delightful and overwhelming aesthetic and intellectual experience for the reader.