Madala Panji

Madala Panji is a historical record documenting the reigns of various dynasties that ruled Odisha. It is ritually preserved and worshiped near Sri Jagannath in the Puri Jagannath Temple. Spanning from the 12th century to the mid-19th century, it serves as a vital source for understanding the origin and history of Lord Jagannath.

Beyond its historical significance, Madala Panji has also acquired literary merit, as successive writers interwove historical narratives with mythological and legendary accounts while chronicling the history of the temple and its rulers. Its distinct language and narrative style have played a crucial role in shaping Odia prose literature, giving it a unique place in Odisha’s literary and cultural heritage.

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History of Madala Panji

Origins and Interpretations of the Name ‘Madalapanji’

There are multiple interpretations regarding the origin of the name Madalapanji.

• Madanmohan Chakraborty (1919), in his seminal work Stopping Capitalism, proposed that the term evolved from Mudal → Mudala → Madala → Madalapanji.
• Ramaprasad Chand (1927), in his History of Odisha, suggested that it followed the transformation: Mardala → Maddaeda → Maddaa → Madala → Madalapanji.
• Artaballabh Mohanty theorized that after writing the Panji (chronicle), scribes bound it in a Mardalakar (drum-like form) and stored it in the temple, leading to the name Madalapanji.
• Professor Krishnachandra Rashandi argued that the word ‘Madala’ carries an adverbial meaning of imperfection or incompleteness. Since Lord Jagannath is considered ‘incomplete’, he is called Madala, and because the Madalapanji chronicles his legacy, the name is considered appropriate.

Literary Approach and Folklore in Madalapanji

While Madalapanji serves as a historical record of Odisha, it also incorporates legends and folklore, blending historical facts with literary narratives. Many of its stories have been deeply ingrained in Odisha’s folk tradition, including:

• Nitei Dhobani’s story from the reign of Chodagangadeva
• Chodagangadeva’s alleged illicit love affair with his daughter and his penance
• The Buddha Vramana and Brahmin trial story
• The herdsman story of Anangabhima Deva
• The Sibei Samantara Jaukhya story
• The Duddaita slave story
• The Sankha dispute during Kapilendra Deva’s reign

These narratives continue to be widely popular across rural Odisha, shaping the cultural and historical consciousness of the region.

Types of Panjis

There are five distinct categories of Panjis, though no one has ever seen them all. Each serves a unique purpose in recording historical, religious, and administrative details.

1. Raja Khanja – Chronicles significant events related to the rulers. It is read annually on Paush Purnima (Pushyabhishek) and maintained by the Tadau Karan.
2. Desh Khanja – Documents land grants, monetary donations, and instances of plundering of the Jagannath Temple. This record is preserved by the Kotha Karan.
3. Karmangi – Details daily rituals and significant events associated with them. These records are announced publicly at the Beherana.
4. Dina Panji – A daily almanac read by the temple astrologer during Avakash (morning rituals). It is prepared annually and finalized on Vishuva Sankranti.

In addition to the Madala Panji, other Karans recorded regional histories known as Chakadas. It was said that when combined, all the Kadatas and Chakadas would amount to an entire cartload of records.

Story of Chodaganga

ଏ ରାଜା ବ୍ରାହ୍ମଣମାନଙ୍କୁ ପଚାରିଥିଲେ । ଯଉ ଫଳ ଉପୁଯାଇ ସେ ଫଳ ଖାଇ କି ନଖାଇ । ତହିଁକି ବ୍ରାହ୍ମଣେ ବୋଇଲେ ଯେ ଫଳ ଉପୁଯାଇ ସେ ଫଳ ଖାଇ । ସେଠାରୁ ରାଜା ଝିଅଙ୍କ ସଂଗେ ଅଙ୍ଗସଙ୍ଗ ହେଲେ । ସେ ଝିଅ ଗର୍ଭବାସ ହେଲେ । ତହିଁ ସକାସୁଁ ସେ କଥା ପ୍ରଘଟ ହେଲା ସେଠାରୁ ରାଜା ବ୍ରାହ୍ମଣଙ୍କୁ ପଚାରିଲେ ତହିଁକି ବ୍ରାହ୍ମଣମାନେ କହିଲେ ‘ତୁମ୍ଭେ ଝିଅ ସଂଗେ ଅଙ୍ଗସଙ୍ଗ ହେଲ । ଏକଥା ଗର୍ହିତ ହେଲା । ଏକଥା ଉଚିତ ନୁହଁ । ତହିଁକି ରାଜା ପଚାରିଲେ ଏଥିକି ପ୍ରାଶ୍ଚିତ । ତହିଁକି ବ୍ରାହ୍ମଣ କହିଲେ ‘ଦୁଇ ମାଠିଆ ପାଣି ଘେନି ଚାଲିଯିବ, ତାହା ଗୋଡରୁ ଯେଉଁଠାରେ ରୁଧିର ଜାତ ହେବ ସେଇଠାରେ ଚାରିବାହି ଆୟତନରେ ପୋଖରୀ ଖୋଳାଯିବ । ମଧ୍ୟରେ ଦୀପିଦଣ୍ଡି ହେବ । ତହିଁ ଭିତରେ ସେ ଝିଅ ରହିବ । କାହାରି ମୁଖ ନ ଚାହିଁବ । ଏମନ୍ତ ଯେ ସେ ତାହାଙ୍କ ବିହକ ରହି । ତୁମ୍ଭ ଉପସ୍ଥ କଟାହୋଇ ଦୁମ ହୋଇଯିବ । ତେବେ ସେ ତହିଁରେ ଦୋଷଯିବ । ସେଠାରୁ ସେ ରାଜା ଏହା ଶୁଣି ଝିଅଙ୍କ ହାତରେ କାଖରେ ପାଣି ଦୁଇ ମାଠିଆ ଦେଇ ଚଳାଇଲେ । ଏ ଝିଅଙ୍କୁ ଏ ରୂପେ ଚଳାଇଲା ବେଳକୁ ରାଜ୍ୟଲୋକେ ଶୁଣି ବହୁତ ଉପହାସ କଲେ । ରାଜା ବଡ଼ ସଂକୋଚ ପାଇଲେ ଝିଅକୁ ନଅରକୁ ନେଲେ । ଏ ଉତ୍ତାରୁ ଝିଅଙ୍କୁ ଯେଉଁଯାଏ ବୁଲାଇଲେ ରକତ ଗୋଡରୁ ବହିନଥିଲା । ସୀମାନ୍ତ ଘେନି ପୋଖରୀ ଦିପଦଣ୍ଡି କଲେ । ଦିପଦଣ୍ଡି କରି ଝିଅକୁ ଆଣି ତହିଁରେ ରଖିଲେ । ରାଣୀମାନେ ରାଜାଙ୍କ ମୁଣ୍ଡଛେଚି ମାଇଲେ ସେଇଦିନୁ ପୋଖରୀ କୌଶଲ୍ୟାଗଙ୍ଗ ହୋଇଲା ।

Once, a king consulted the Brahmins regarding a dilemma: Should one consume a fruit that has already fallen to the ground? The Brahmins advised that such a fruit was still fit for consumption. Taking their words as divine counsel, the king proceeded to form an intimate relationship with his own daughter, leading to her pregnancy.

When this scandalous event became widely known, the king once again turned to the Brahmins for guidance. They now condemned his actions, declaring that his union with his own daughter was sinful and unacceptable. The king, seeking redemption, asked them for a means of atonement (prāyaścitta).

The Brahmins prescribed a severe penance:

1. He must give his daughter two handfuls of water and send her away.
2. As she walked, wherever blood dripped from her feet, a sacred pond (pokhari) of a specific dimension must be dug.
3. A deep pillar (Dīpidaṇḍi) should be erected at its center, where the girl would be confined, forbidden from seeing anyone’s face.
4. The king himself must undergo severe penance, splitting his body in two and enduring immense suffering.

The king followed these instructions and sent his daughter away. However, when news of this harsh punishment spread, the people of the kingdom mocked him, causing him great shame. Unable to bear the humiliation, the king took his daughter back. However, no matter where she went, blood continued to flow from her feet, fulfilling the prophecy of the Brahmins.

In accordance with their decree, a pond and Dīpidaṇḍi were created at the site. The queen and other royal women, disgusted by the king’s actions, beheaded him. From that moment onward, the pond became known as Kausalyaganga.

Interpretation of the Legend

This legend exemplifies how kings in ancient times often followed the advice of Brahmins without question, regardless of its consequences. It also highlights how sin and atonement were perceived in that era, showing how religious and social norms dictated moral judgment and justice.

Story of Kapilendradeva

କପିଳ ଗଛମୂଳେ ଶୋଇଅଛନ୍ତି ମୁହଁରେ ଖରା ପଡ଼ିଲାକୁ ନାଗସାପ ଫଣା ଟେକିଅଛି । ଏମନ୍ତ ଦେଖି କପିଳ କି ବ୍ରାହ୍ମଣ ଉଠାଇ ଦେଖିଲେ କିଛି ଆପଦ ନାହିଁ । ସେ ଦିନୁ ବ୍ରାହ୍ମଣ କପିଳଠାରେ ବଡ଼ ସୁଖ କରିଥାଇ । ଥୋକାଏ ଦିନ ଉତ୍ତାରେ ବ୍ରାହ୍ମଣ ଘରୁ କପିଳ ବାହାର ହୋଇ ତେରାଟିଆଙ୍କ ସଙ୍ଗେ ସାଙ୍ଗ ହୋଇ ଚୋରି କଲେ । ପୁଣି ଥୋକାଏ ଦିନ ଉତ୍ତାରୁ ଭିକାରି ହୋଇ ଶ୍ରୀପୁରୁଷୋତ୍ତମ କ୍ଷେତ୍ରେ ମାଗି ଖାଆନ୍ତି । ଏମନ୍ତରେ ରାଜା ବିମ୍ବଳାଇଙ୍କଠାରେ ଦେଖି ବୋଇଲେ ତୁମ୍ଭେ କି ଲୋକ । କପିଳ କହିଲେ ଆମ୍ଭେ ସୂର୍ଯ୍ୟବଂଶୀ ରାଉତ । ଏଥକୁ ରାଜା କହିଲେ ଆମ୍ଭଠାରେ ଚାକର ରହ । ଏଥକୁ କପିଳ ରାଉତ ଚାକର ରହିଲେ । ଥୋକାଏ ଦିନ ଉତ୍ତାରୁ ପରମେଶ୍ୱର କପିଳ ରାଉତଙ୍କୁ ରାଜା କରି ଆଜ୍ଞା ଦେଲେ ।

Kapila was sleeping under a tree when a cobra spread its hood over him to protect him from the falling dew. A Brahmin, upon witnessing this extraordinary sight, woke Kapila up and examined him but found no harm had come to him. From that day, the Brahmin developed a deep affection for Kapila.

A few days later, Kapila left the Brahmin’s house and joined a band of thieves. Together, they engaged in theft. Some time after that, he became a beggar and started wandering in Shree Purushottama Kshetra (Puri), surviving on alms.

During this time, King Bimbalai saw him and asked, “Who are you?”
Kapila replied, “I am a Suryavanshi Raut (a descendant of the Solar Dynasty).”
Hearing this, the king said, “Then serve in my court.”
Thus, Kapila entered the service of the king.

In the end, the Supreme Lord decreed that Kapila Raut should be made a king.
Thus, an ordinary man ascended the royal throne.

Writers of Madala Panji

According to tradition, Chodaganga Deva established 24 Karana families to maintain the temple records. Among them, five families were specifically entrusted with the writing and preservation of the Madala Panji, the historical chronicle of the Jagannath Temple. Their roles were as follows:

• Panjia Karan – Responsible for preserving the Madala Panji.
• Tadau Karan – Tasked with writing the Madala Panji.
• Deula Karan – Ensured the enforcement and implementation of its records.
• Kotha Karan – The principal compiler of the Madala Panji.
• Baithi Karan – Served as the assistant to the compiler.

These roles played a crucial part in maintaining the historical and administrative records of the Jagannath Temple.

The Madala Panji is not a literary creation, nor does it have a specific author. It was traditionally written by semi-literate royal officials who were appointed by the Gajapati Kings for this purpose. The task of writing the Madala Panji was hereditary, passed down through generations.

The scribes responsible for maintaining the Madala Panji were divided into three categories:

1. Deula Karan – Maintained records related to the Jagannath Temple.
2. Chadaau Karan (Tadau Karan) – Recorded matters related to royal administration.
3. Kotha Karan – Maintained records in the official archives.

The records maintained by these groups were kept in different locations:

• The Deula Karan’s records were stored inside the Jagannath Temple.
• The Chadaau Karan’s records were kept in the royal court.
• The Kotha Karan’s records were preserved at the scribe’s residence.

Some researchers believe that:

• The Deula Karan recorded festivals and rituals of the Jagannath Temple.
• The Chadaau Karan documented the administration and achievements of Odisha’s rulers.

After the destruction of the Jagannath Temple by Kalapahad, the temple was restored. Following this, King Ramachandra Deva instructed his officer Batakrishna Mohanty to systematically record all temple-related events and information. This marked the formal beginning of the written tradition of the Madala Panji.

Impact of Madala Panji on Odia Literature

An analysis of Madala Panji reveals a rich tapestry of legends and narratives. While its historical accuracy may be debated due to its blending of myths and folklore, its literary artistry is undeniable. It holds a unique place in the development of Odia prose literature, influencing subsequent literary traditions.

Linguistic Features of Madala Panji

According to Dr. Suniti Kumar Chatterjee, while Madala Panji contains certain historical inaccuracies, it remains a valuable document of medieval Odia prose. The text exhibits three distinct linguistic styles:

1. Common Language – Simple, clear, and accessible.
2. Mudal Language – Rich in Sanskrit vocabulary, often poetic, complex, and elaborate.
3. Declarative Language – Characterized by short, straightforward sentences.

Additionally, the text incorporates ritualistic language in sections related to ceremonies, letters, and official records. Since Madala Panji was composed by different authors across various periods, its stylistic variations are natural, though it lacks ornamental embellishments commonly found in classical Odia literature.

Influence of Madala Panji on Odia Literature

The influence of Madala Panji is evident in later Odia literature, especially in prose, poetry, and drama. Several folk tales, including Adyavidhi Nitei Dhobani, Kanbori Mantra, and Gunigaredi, have roots in its narratives.

Prominent literary works influenced by Madala Panji include:

• Purusottama Deva’s Kanchi Kaveri Kavya* – Chronicles the arrival of the Ganesh idol from Kanchi, the story of Sanvipra, Manik Gauduni, and the famous Chera Pahara ritual.
• Balaram Das’s Jagmohan Chand* and Chakrapani Patnaik’s Gundicha Champu* – Draw inspiration from Madala Panji.
• Grasindhu Das’s Chaturdhamurti*, Jagannath Das’s Nityaniladri Vilas*, and Darubrahma Gita – Explore Sevaupasana (ritual worship) and the Indradyumna legend, similar to the themes of Madala Panji.
• Maguni Das, Damodar Das, and Nilambar Das – Depict the Galamadhav episode, closely following the structure of Madala Panji.
• Chandras Gopichandana’s poetry and Ramachandradeva’s Indradyumna theme – Reflect the stylistic and thematic elements of Madala Panji.
• Jagannath Narayan Dev’s 17th-century work – Describes the Gangayatra, detailing Lord Jagannath’s symbolic journey to the underworld, following the path mentioned in Abika Panji.

Madala Panji’s Role in Drama and Modern Literature

The drama tradition in Odisha has also been influenced by Madala Panji. Several historical and mythological plays are based on its narratives, including:

• Radhanath Ray’s Parvati – Draws from Madala Panji to describe Chodaganga Dev’s illicit love affair with Kaushalya.
• Radhanath Ray’s Chilika – Uses Madala Panji’s style to depict a historical conflict.
• Plays Based on the Kanchi-Kaveri Episode
  • Ramesh Chandra Roy’s Kanchi Kaveri
  • Godabarish Mishra’s Purushottama Deva
  • Kali Charan Patnaik’s Kanchi Abhiyan

The impact of Madala Panji extends to modern Odia literature, influencing the historical novels of Surendra Mohanty, particularly:

• Nilashaila
• Niladri Vijaya

These novels narrate the dramatic events surrounding Sri Jagannath’s hiding in Chilika during Muslim invasions and his eventual restoration to the Ratna Singhasana (throne). Surendra Mohanty incorporates the legends of Madala Panji, demonstrating its lasting influence on contemporary storytelling.

Regional Panjis and Their Influence

The popularity of Madala Panji led to the creation of numerous regional chronicles, including:

• Kalahandi Madala
• Keonjhar Madala

Additionally, various historical biographies and records were composed under its influence, such as:

• Gopinath Mishra’s biography of the Patia Raja
• Suryamani Choudhury Patnaik’s Khumusur Bhatt Biography
• Padman Singh’s Nagasush Rachit
• Fakir Chins’ Chaina’s Chokda

Conclusion

While Madala Panji may not fit the conventional definition of literature, it remains the earliest attempt to document historical events in Odisha. It not only preserves historical facts but also weaves together captivating narratives, making it a literary treasure.

Even though its authors were not literary figures, their storytelling and imaginative skills have left a profound impact on Odia literature, shaping its historical, poetic, and dramatic traditions.