The famous JyotirLinga of MahaakaaLeshwar is situated over the bank of the sacred river Shipra. Lord Omkaareshwar's temple is situated over an Island inside the river Narmadaa. On the other side of Narmada is the temple of Lord Maamaleshwar. Lord Baeidyanath's temple, situated in Deoghar. One of the old Tapovana also exists near Deoghar. This book talks in detail of all these deities, the places around them and their spiritual and scriptural significance.

Lord Jagannath, Balabhadra and devi Subhadra are the incarnations of Krishana, Balaram and their sister Devi Subhadra. They are the main deities at Jagannath Puri. In the parampara (tradition) of Jagannath Puri, also known as Shrikhetra, on different occasions the deities have beautiful Shrinagar (Besa). This book elaborates many different Shringars they have round the year. These are: KaliyaDalanaBesh, Pralambasura Damana Besha, Banabhoji Besha, SriKiisnaBalaramaBesha, Bali Bamana Besha, RadhaDamodaraBesha, Laxmi Narayana Besha, Banka Chuda Besha, GajaUdharanaBesha, Padma Besha, Rajadhi Raja Besha/SunaBesha, BadaSingharaBesba, Raghunatha Besha

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.