|
Akshyaya Trutiya | Gahma Purnima |
Makara Sankranti | Ashokashtami
| Ganesha Chaturthi
Nuakhai | Basanta Panchami | Hingula Yatra |
Prathamastami | Baseli Puja |
Janmastami
Raja Sankranti | Chaitra Parba | Kartika Purnima |
Rama Navami | Deepavali |
Khudurukuni Osa
Savitri Brata | Dhanu Yatra | Kumar Purnima |
Shamba Dasami | Dola Purnima
(Holi)
Lakshmi Puja | Sital Shashti | Durga Puja |
Magha Saptami | Visuva Samkranti
Dusserah | Mahashiva Ratri | Viswakarma Puja
JAGANNATH TEMPLE FESTIVALS
Basant Panchami | Chitou Amavasya |
Nava Kalebara
Chandan Yatra | Devasnana Purnima | Rath Yatra
Lakshmi Puja:
With the harvest brought home the farmers feel greatly satisfied with the yield. After six months of toil in the field, they fill the granaries with the blessings of Goddess Lakshmi. So, the whole month of margashira (Dec-January) is spent in worshipping the Goddess. All the rituals connected with the festival (Manabasa Gurubara or Lakshmi Puja) is done by house-wives themselves. On each Thursday of the month the houses are plastered with cow-dung, the floors are decorated with beautiful floral designs drawn with rice-povvder mixed with water. This is called 'Jhoti'. Footmarks are painted from the doorstep to the place of worship as if Goddess Lakshmi has entered the house. The roofs are decorated with flower garlands and festoon woven out of paddy stalks.
After purificatory bath in the morning the housewives worship the Goddess, not through an image but significantly through paddy-measures. Different varieties of rice-cakes and Kshiri (rice-soup prepared with milk and sugar) are prepared in every house hold and are offered to the deity and then taken by all.
In the evening the Laxmi Purana is read or recited in which an interesting story is told. Once Shreeya, an untouchable woman worshipped Goddess Lakshmi by observing this festival. Being moved by her devotion Lakshmi left Her permanent abode, the temple which is situated inside the campus of the temple of Lord Jagannath and visited Shreeya's house. When Lord Balabhadra, the elder brother of Lord Jagannath came to know about this, She was declared defiled and was not allowed to come back into the temple. Lakshmi was deeply hurt and went to her father Sahara.
When Lakshmi went out of the temple all wealth in the temple started vanishing. Later the Gods Balabhadra and Jagannath couldn't find food to sustain themselves. They came out of the temple in the guise of Brahmin beggars in search of food. Ultimately they landed at the door of the Goddess Lakshmi. Balabhadra apologised for the mistake and all of them returned to the temple.
The Purana ultimately teaches all to pay extreme regard to Goddess Lakshmi and the person who disregards Her is sure to fall on evil days. This means that wealth should be well-protected and properly used and misutilisation of wealth is sure to make a person suffer.
Sital Sasthi:
This particular festival strictly prevalent among the Brahmins of Orissa is generally observed in Brahmin villages, popularly known as Sasans or in towns where Brahmins are more in number.
It is believed that Shiva or Hara became furious after Jagara Amavasya and He was cooled down only by marriage with Parvati. So, this marriage festival of Shiva and Parvati is called Sital (cool) Shasthi and is held on the sixth day of the bright fortnight of the month of
Jyestha.
Since the days of yore Orissa has been a seat of Shaivism. Bhubaneswar itself has about five hundred Shiva temples dating back from 6th-7th century A.D. In the early temples of Bharateswar and Parsurameswar there are elaborate scenes of Shiva's marriage with Parvati. It is therefore believed that this festival of Shiva's marriage is very ancient and is being carried down through centuries past.
In most Brahmin villages of Orissa there are temples of Shiva, Parvati and Vishnu. During this festival the elderly Brahmins of the village act as the parents of the bride (Parvati) and the bride-groom (Shiva) and all formalities of a Brahmin marriage are observed. In analogy with the society-marriages where somebody acts as a mediator, here, Vishnu, the God Himself takes the role. At first a proposal (written on palm-leaf) is sent from the bride's side to the bride-groom's father through Sevak who also carries Mahaprasad (Food offering of Lord Jagannath), coconut, betelnut, and a piece of new cloth as prevalent in marriage customs. With him goes a procession of torch-bearers, drummers and pipers. Thereafter, on the fifth day (Panchami) at past mid-night Parvati goes to the temple of Shiva in a procession where the marriage takes place with all vedic formalities. After the marriage is over a feast is arranged in which the Sevayats from both the sides participate. The real festival takes place next day in the night when the marriage procession is taken out with pomp and grandeur. The images of Parvati and Vishnu are carried in a richly decorated palanquin (vimana) heading the procession. Shiva, seated on a bull follows them on a bullock cart. At cross-roads and important places the procession halts and there is lavish display of fire-works, dancing, drumming and various other kinds of merry-making.
Though this festival is held in the temples of Loknath at Puri, Lingaraj at Bhubaneswar and in most of the important Brahmin villages, it is observed in a grand scale at Sambalpur where two groups of Brahmins exhibit rare enthusiasm to organise it with keen competitive spirit. During the procession lavishly decorated tableus are brought out. Traditional and local dance and music parties are engaged to move with the procession. Varieties of fire works are displayed. Each group tries its utmost to excel the other in every respect. The procession terminates at the respective temples and the festival ends.
On this day the town of Sambalpur wears a festive look. Thousands of people congregate from different parts of the district to witness the deities in procession. In the Puranas it has been said that one is expiated of all sins if he sees the Gods in procession. Therefore, there is a natural attraction for the common villagers to see the mounted deities in procession.
Durga Puja:
Durga Puja (September-October) symbolizes the commemoration of good over evil. Life comes to a stand-still in the city of Cuttack as crowds pour over the Puja Mandaps to enjoy the festivities. On the day succeeding 'Vijaya Dasami', the last day of Dussera, the images are taken in a spectacular procession for immersion in the river
Kathajodi.
Magha Saptami:
This festival is celebrated on the seventh day of the new moon of Magha. This is a day specifically set aside for the worship of Sun God at Konark where stands the world famous Sun Temple, otherwise known as Black Pagoda, dedicated to Sun God. This is the most popular and colourful festival of the place when lakhs of pilgrims from different parts of India and enthusiastic visitors from abroad visit Konark to observe the festival. In fact this is the second biggest festival in Orissa, next to the Car Festival of Puri. The pilgrims take holy dips in the Chandrabhaga which meets here and welcome the rising Sun with prayers.
A big fair is held at the Khandagiri caves near for a period of seven days commencing from
"Maghasaptami".
Visuva Samkranti:
In India the months and years are counted on the basis of lunar or solar movements. According to the solar system the month is counted from Samkranti to Samkranti and in lunar system it is counted from Purnima (Full-moon) to Purnima. Visuva Samkranti is the first day of the month of Baisakh as well as the solar year. This is also called Mahavisuva Sankranti or Jala Visuva Samkranti In northern India it is called Jala Samkranti, in southern India Sakkar Pongal and in Orissa it is known as Pana Samkranti, named after Pana, the main drink offering specially prepared on this occasion.
There are specific reasons as to why the Visuva Samkranti is considered as the first day of the solar year. It is only on two occasions i.e. Mesha Samkranti and Tula Samkranti that the Sun fully rests on the equator and on these two dates the length of days and nights remain equal. After Mesha Samkranti the Sun moves in the northern direction to our side as our country is situated to the north of the equator. It is, therefore, from this day of first movement of the Sun from Mesha Samkranti that the new year is counted. All over the country this day is considered auspicious and is celebrated with social, cultural and religious performances.
In Bhabisya Purana, this festival has been mentioned as Jala Samkranti. According to tradition when Bhisma, the grand-father of Kurus and the Pandavas lay on the bed of arrows (Shara Sajya) he felt thirsty and there was no water nearby in the ravaged battle-field of Kurukshetra. Then Arjuna with his powerful bow thrusted an arrow deep into the ground and water immediately shooted out in a stream to quench the thirst of the dying warrior. Out of contentment and compassion Bhisma conferred to Judhisthira, "Those people who would offer cold water to thirsty people on this day would not only be free from all sins, but also the departed souls of their ancestors as well as the Gods in heaven would be pleased." This saying of the holy scripture is observed with great reverence and people all over the country offer sweet-water to thirsty people as a religious rite.
In Orissa, this festival is observed with great sanctity in various forms. On this day Chhatu (grinded corn powder),
Pana (sweet water), umbrellas, fans (made out of palm-leaves or bamboo-strips) and
Paduka (wooden slippers) are offered to Brahmins and the poor people. All these are the remedies for the scorching Sun. Water as the vital source of life becomes more symbolical in another ritual of the festival. Above the Tulasi plant- which is a must in every Hindu household of Orissa, a shed is prepared with branches of green leaves and painted pitcher of smaller size filled with water is suspended with a rope hanger. Beneath it a small piece of straw is fixed to a hole in the pitcher through which water is drained drop by drop on the Tulasi plant. This is called 'Basudhara' (the stream of the earth). Here, Tulasi plant symbolises the human life and it is to be saved from the scorching sun by resting in the shed and taking enough water.
This festival is observed widely in some form or other, in the coastal areas and in some towns and villages of other areas a rigorous ritualistic observance is observed. Deeply connected with the mass religious culture of Orissa, a number of other festivals otherwise known as Jhamu Yatra, Hingula Yatra or Patua Yatra, Danda Yatra, Uda Yatra etc. which originated as ritualistic observances of Chaitra Parva culminate in the Visuba Samkranti and make a grand finale of the whole celebration.
Dusserah:
The holy scriptures testify that on this day Rama killed Ravana and his victory was celebrated. Therefore, it is also called 'Vijaya Dasami'. (Victorious tenth day). In Orissa it was, therefore, a military festival. In the villages the agriculturists worship their implements. The Khandayats or the Paikas bring out their rusty swords, spears and other weaponry to clean and worship. The Paika Akhadas are held in which young men indulge in stylised military dances, display of sword-fighting and various acrobatic stunts. People in general polish their instruments of profession at this time and also clean, plaster and whitewash their houses. Beautiful flower-designs are painted on both sides of the doors. Now-a-days idols of Durga are worshipped for five days, especially in towns and cities. This tradition of idol worship has been set by the Bengalis who dominated during the time of the British rule in Orissa. Especially in the city of Cuttack a large number of idols of Durga and Mahadev are worshipped in profusely decorated pandals. After Dasami all the idols are then taken in procession for immersion in the river Kathjori. Many people come to the city from villages to watch the festival.
Shiva Ratri:
Every deity in the Hindu pantheon has a particular day dedicated to Him and that day is considered most sacred and auspicious to worship and propitiate. Jagara or Shiva Ratri or the night of Shiva is a festival held in honour of the God. In Shiva Purana, Shiva says to Her consort Parvati that no festival other than Shiva Ratri observed by his devotees gives Him so much pleasure and satisfaction. This festival is, therefore, observed with great sanctity by the people on the fourteenth day of the dark fortnight of Phalguna (February-March). In times of yore, Orissa was a great seat of Shaivism. It was the state religion for over four centuries and as a result, innumerable temples were built and dedicated to Shiva throughout the length and breadth of the State by the pious rulers. Bhubaneswar alone has about five hundred shrines for Shiva, both big and small. The earliest temlpes date back to 6th-7th century A.D. Since then Shaivism is a great religious force among the people of Orissa. Most of the prosperous villages have a temple for Shiva. Therefore, the festival is held with great religious fervor in the State. According to a legend it signifies the day on which Lord Shiva swallowed the deadly poison that emanated from the churning of the ocean of milk which would have killed the Gods. Not knowing that it would not cause any harm to Him, all the Gods and Goddesses kept vigil throughout the night praying for His life. The prayer that was offered to Him that night is repeated since then on Shiva Ratri. Yet another story tells that at the time of the deluge [Pralaya] the whole world was covered with utter darkness and the Divine Mother restored light to the world by offering prayer to Shiva. It is said that the rituals that are observed in the festival are the same as observed by the Mother Goddess. The devotees observe strict religious discipline by abstaining from food for the day and keep themselves awake the whole night. Shiva linga is worshipped with vilwa leaves throughout the night with chanting of the Panchakshyara mantra 'Om ! Namah Shivay !'. The next morning, they take their bath and after worshipping Shiva again break their fasts. Many are the stories narrated in the Puranas about the efficacy of the observance of this festival.The story of the king Chitrabhanu of Ikshvaku dynasty is one. It is stated that during his previous birth the king was a hunter by name Suswara and was eking out his livelihood by hunting birds and animals and selling them. On a Shiva Ratri day, he was roaming about in the forest and then shot a deer, but couldn't take his spoil home as he was overtaken by the darkness of the night. He got upon a vilwa tree and kept awake the whole night stricken with hunger and thirst. He had starved for the day and so couldn't sleep in the night due to hunger. While keeping himself awake for the whole night, he plucked leaves from the vilwa tree and dropped them one by one to the ground. He never knew that there was a Shiva Linga beneath the tree and the leaves he dropped fell on the Linga. When the day dawned he went home, sold the deer and purchased food for the family. He fed a stranger who begged him for food ,because of this virtuous deed that he performed, even if unknowingly, two messengers of Shiva came to him at the hour of his death and conducted his soul to the abode of Shiva. After enjoying divine bliss for long, he was again reborn as king Chitrabhanu of Jambudwipa i.e. India. According to another legend that finds mention in the Puranas, Brahma and Vishnu, the two supreme Gods had a difference as regards their supremacy. The matter was referred to Shiva for a verdict. Shiva, then asked both the Gods to gauge the depth and measure the height of his Linga. Vishnu took the form of a boar and dived below to ascertain the depth and Brahma on his swan vehicle scaled high to ascertain the height. High above in the void Brahma came across a petal of Ketaki flower drifting downwards. As it was falling from the top of the Linga, He asked the petal about the further distance upward. The petal couldn't answer since how many ages that it was drifting downwards. Brahma refrained from going up and went to the nether world to meet Vishnu. Showing the petal He claimed to have ascertained the height of the Linga. At this false pretext, the petal objected. As Brahma was exposed because of the disclosure of the petal, He, in wrath, cursed - "From this day you would be unworthy for the worship of Shiv".
Vishnu, being pleased with her truthfulness blessed saying, 'On shiva chaturdaphi you will be worthy for Shiva's worship. Therefore only on this day Ketaki flower has the right to be offered to the deity. On no other occasion the flower is ever used for worship. Almost all the important shrines for Shiva bear festive look during the festival. Thousands of people flock to the temples from the early rooming to offer worship to the deity. In some places big fairs are arranged where large varieties of goods and implements are bought and sold.
Viswakarma Puja:
Viswakarma is known as the divine engineer since the Puranic age. As a mark of reverence He is still worshipped specially by the engineering community. The festival is observed on the Kanya Sankranti Day (September) which follows the Ganesh Puja, in every industrial towns of Orissa. Towns like Hirakud and Rourkela present the grandest ceremony on the
occasion depicting different fire works connected with modern technology.
JAGANNATH TEMPLE FESTIVALS
Basant Panchami:
This festival is observed differently in the temple of Jagannath. As this festival marks the advent of the spring season with winter receding, the warm clothings of the three deities are removed and they are again clad in saffron-colour clothes. A special variety of cake is prepared and offered to the deities which is known as 'Basantapistaka' (cake of the spring). Thereafter, a peculiar festival continues from this day to Dola Purnami in which the representative deity of Lord Jagannath Ramachandra goes out hunting. This part of the festival is known as 'Benta Yatra'. The deity eceives a bow and an arrow made out of split-bamboos from Budha Lenda and goes to Bentapokhari (a pond) situated in the campus of the Jagannath Ballav Math which is very close to the temple. There the deity shoots arrows to a bundle of cocoanuts and Kasturi which represent a deer.
Chitou Amavasya:
As Lord Jagannath is the presiding deity of Orissa. Many of His festivals are also devotionally followed in Oriya households. Chitalagi or Chitou Amavasya is one such festival which falls on the new-moon day of the sravana (August). On this day, in the temple of Jagannath, the deity bears a golden mark (chita) on the forehead. A special variety of rice-cake known as Chitou pitha is given to the deity as food-offering. This variety is also prepared in every household of the Oriyas of the coastal districts.
In rural areas this is more or less observed as an agricultural festival. On this occasion the farmers worship the paddy-fields. After a purificatory bath in the morning they go to their respective paddy-fields with cake, flowers, milk etc and pray the fields to yield a good crop.
It is in the primitive tradition to appease evil powers through worship; whether they are animals, serpents, inspects or plants. People worship and pray them to avoid their wrath. Pilas breed enormously in the paddy-fields and tanks during the rainy season. Farmers while working bare-footed in the fields often get their feet cut by the sharp edge of their shells. Therefore, during the festival the piles is appeased as a female form of evil power known as 'Gandeisuni' (Genda is pile). The farmer girls go to the fields and while offering cakes pray "Oh, Gandeisuni, be appeased and do not cut the legs of my father or brother".
In Sambalpur areas this festival is known as 'Harali kans'. People of the areas believe it to be a day of the witch, Tandei who moves in the dark to suck the blood of the children. To save children from her wrath mothers draw peculiar designs below the naval zone of the children before the night falls. As they believe that would scare away witch, a common variety of rice-cake Chakuli Pitha is offered to the witch to be appeased and thereafter the cake is taken by all.
Nava Kalebara:
Related to the car-festival, an important festival known as 'Nava Kalebara' is held once in every twelve to nineteen years according to the calculation of the year and date. On this occasion the wooden images of the deities are replaced by new ones. The principle adopted to fix the year of renewal is to find a year which has two full-moons in the month of Asadh (June-July). In every three years a lunar month is excluded from the calculation to keep a balance between the lunar and the solar years. This particular month, which is excluded from calculation is known as 'Adhimasa' or 'Mala masa' and is considered most inauspicious for any religious ceremony. But peculiarly enough this is considered most sacred for the renewal festival of the deities. Therefore, it is also called 'Purusottama Masa', as the other name of Lord Jagannath is Purusottama. During the last hundred years such festivals have been held only seven times in 1863, 1893, 1931, 1950, 1969, 1978 and 1996.
For making the new images a number of rituals connected with it are observed. When the date is fixed for the festival the Gajapati Maharajah of Puri issues a proclamation to the Vidyapati, Daitas and Brahmins well-versed in the Vedas to go in search of the trees that would provide logs for making the images. Generaly this proclamation is issued on the 10th day of the full-moon of Chaitra (March-April). After the mid-day rituals of the Lord Jagannath, the Mahapatras receive 'Agnya mala', the garland as a token of permission from the Lord to go in search. Then the Mahapatras carry this garland along with four Daitapatis to the 'Anabasara pindi' (a platform inside the temple) where they are given new garments to wear. From there they go to the Jagannath Math, the place of starting. Accompaned by the Daitapatis, Deulakarana, Tudhan, Lenka and four carpenters they go to the temple of Mangala at Kakatpur which is about forty kilometres in the north. There they sleep in the temple to obtain permission of the Goddess in dream before proceeding in four batches to four directions in search of the trees.
There are strict injunctions for selection of the trees. The trees must be of Neemba. It should have four branches and must be in near vicinity of a buried ground or river. It shouldn't have cut marks. Snakes below the tree is an auspicious sign. Taking all these specifications into account the selection is made and the Daitapatis immediately place the garland on the trees. Then the area is cleaned. A platform is erected for Bana-yaga ceremony. Four Brahmins conduct the ritual. Then the Daitapatis sit in meditation for three days. After this the Vidyapati marks the tree with a golden axe and then the carpenters begin to cut the tree into huge logs. Thereafter the holy logs are carried in four wheeled-carts newly built for the purpose. The carts are not pulled by animals but by the Sevakas and the people. The sacred logs are taken into the temple compound through the northern gate and are placed in the Koili Baikuntha. On the day of Snana Purmina, the logs are bathed along with the aid of deities. Then the logs are carried to Darughara or the stack, and eight Brahmins perform the ritual after which the carving of the images begins by a group of carpenters. During this period nobody is allowed to visit the place. After completion of the carving, the images are painted bright in their respective colours by the traditional chitrakars. The new idols are then circumbulated for three times and brought to the Anabasarapindi for transfer of Brahma from the old deities into their new forms. The senior most among the Pal Mahapatras performs this rite at the dead hour of the night. He takes away the Brahmas from the naval zones and places them in the same position in the new forms. But, he does it blind-folded and with hands covered with clothes as he is not to see or feel the mysterious Brahmas. Then the old images are carried and buried in the wells of Koili Baikuntha by the Daitapatis. For this act they observe mourning for eleven days as is commonly done at the death of a man in a Hindu family.
Chandan Yatra:
Chandan Yatra marks the conclusion of the cycle of religious festivals observed in the famous shrine of Lord Jagannth at Puri followed by similar other shrines of Orissa. The festival, starting from Akshyaya Trutiya, lasts for twenty-one days and is held in the month of Baisakh at the height of the summer heat when Chandan (sandle-paste) and water are essential to keep people cool. As the Hindu deities are modelled on the behaviour of human beings, they are also given the same treatment. During this festival they are taken out of the temples in procession for perambulation in water on floats or boats. The richly decorated boats are called 'Chapa'. 'Chapa' is the Oriya equivalent of 'float'. In most of the Vishnu as well as Shiva temples the festival of the 'float' marks the conclusion of the prime annual festival and it is celebrated with much pomp and eclat. The belief probably is that the deity having concluded his ceremonial perambulation with all attendant paraphernalia on land, must have his aquatic sojourn before He returns to the sanctum of the temple to come out only for the next festival.
This festival is most elaborate in Puri and attracts thousands of pilgrims from far and near. On all the twenty-one days the entire road from the shrine of Lord Jagannath leading up to the Narendra Sarobar (a sacred tank in Puri town) along with the houses on both sides is decorated. At some places, especially in front of Maths (monasteries) or at cross-roads big toranas (arches) are erected where the idols take casual rest and receive offerings The representative images of the deities installed in temples such as Madanmohan (representing Lord Jagannath), Laxmi and Saraswati are taken in a richly decorated palanquin by the sevakas accompanied by priests, musicians and dancers to the Narendra Sarobar at night. The tank is profusely lighted with thousands of spectators milling and jostling all around in expectation of the arrival of the procession. The principal deities are also followed by different deities from different shrines of the town. After reaching the Narendra Sarobar, the images are then placed on different well decorated boats and they are rowed for a long time by the Sevakas. During the rowing ceremony Devadasis (temple-dancers) dance and sing on the boat.
Generally, the colours chosen for the boats are red and white and they are so designed to look like huge swans floating on water. The peculiarity of the ceremony is that Madanmohana with Laxmi and Saraswati rides on the white coloured raft where-as Ramakrishna with pancha Shivas rides the red one. All the deities on the boat take several rounds in the water which continue till early hours of the morning and then retire to the respective shrines.The last day of the festival is called Bhaunri (Bhramari or circle) when special elaborate arrangements are made.
Most of the important festivals of Lord Jagannath at Puri are also followed in all other important shrines of Orissa. Following tradition of the Puri the images are taken out in procession on planquins to the nearby tanks and perambulated in water on boats. In all such temples it is observed only for the last three days. After the ceremony which usually takes place at mid-night, people enjoy performances of dance, drama and music specially arranged for this occasion.
At Bhubaneswar the Chandan festival of Lord Lingaraj is observed in Bindu Sarobar, a huge tank near the temple. Here, the float is moved to the Mandapa in the middle of the tank. The mandap is an inlet-like structure which is more an elevated platform.
Devasnana Purnima:
Devasnana Purnima or Snana Yatra is exclusively a festival of Lord Jagannath and is said to be one of the oldest. According to Skanda Purana when Raja Indradyumna installed the wooden deities he arranged this bathing ceremony. This day is considered to be the birth-day of Lord Jagannath. Held in the full-moon day of the month of Jyestha this festival is also simultaneously held in all other imprortant shrines of Orissa. However, the festival being most elaborate and important at Puri, it attracts thousands of visitors and piligrims from all over the country.
'Niladri Mohadaya', a religious text written in Orissa records the rituals of the festival. Sriharsa in his 'naisadhiya Charita' (XV. 89) also refers to this festival of Purusottama. This bathing ceremony has a speciality. As this festival does not find mention in the early religious texts, it is believed to be a tribal ceremony which later crept into the Hindu rites. Jagannath in its early form was being worshipped as Nilamadhaba by a Savara chief called Viswabasu. Till now it is the Daitas and Savaras (tribals) who have the exclusive right to conduct the festival. The tribals called Saoras (of southern Orissa) still perform a rite to bath their deities ceremonially on the last day of the month of Jyestha. For this they collect water from remote jungles where it remains untouched even by the shadow of the animals. Most probably when Jagannath was a Savara God, this festival of the Savaras who tended Him was accepted by the Hindus.
On the previous day of Snana Yatra the images of Jagannath, Balabhadra and Subhadra along with the image of Sudarshana are ceremonially brought out from the sanctum in a procession to the Snana-vedi (Bathing pandal). This special pandal in the temple precinct of Puri is celled Snana Mandap. It is at such a height that visitors standing outside the temple also get a glimpse of the deities. After Mangala Alati, the Suaras and Mahasuaras go in a ceremonial peocession to fetch water from Suna Kua (Golden well) in one hundred and thirty, vessels of copper. All of them cover their mouths with a piece of cloth. Then all the vessels filled with water are preserved in the Bhoga Mandapa. The Palla pandas (a class of Brahms priests) then purify the water with Haridra, Jaba, Benachera, Chandan, Aguru, flowers, perfumes and medicinal herbs.
On the fourteenth day (Chaturdashi) when the idols are taken out in procession, the whole process is called Pahandi or Pahandi vijay. Scholars have given different interpretations of the term ('Pahandi'). Some opine that it has been derived from the term 'Praspanda' meaning movement. Some others are inclined to interpret it as a derivation from Pandya vijaya. For the festival the Snana Vedi is well decorated with traditional paintings of trees and gardens. Flags and toranas (arches) are also put up. The images are profusely decorated with flowers. All kinds of perfumes such as Dhupa, Aguru etc. are then offered. As the 'Pahandi' of the deities takes place to the accompaniment of music and beating of various indigenous drums. Thousands of devotees jostle and crave for a look at the deities in procession.
The bathing festival takes place during the morning hours of the Purnima. The filled vessels are carried from Bhoga Mandap to the Snana Vedi by the Suaras in a long single-line procession. This ritual is called 'Jaladhibasa'. Prior to the bathing ceremony the images are covered with silken clothes and then smeared with red powder. Then water is poured, the rituals performed and 'Pavamana' hymns chanted. After the bath the deities are so dressed that together they appear like the image of Ganesha. This is called Ganeshabesa. It is said that a staunch devotee of Lord Ganesha and himself a profound scholar visited Puri during Snana Yatra, he was amply rewarded by the king of Orissa for his scholarship. The king asked the scholar to accompany him to see Lord Jagannath which he refused under the pretext that he wouldn't worship any God other than Ganesha. Somehow he was persuaded and brought before the Snana vedi. To the utter surprise of all, Lord Jagannath appeared as Ganesha. Since then during Snana Yatra when the sacred bath is performed, the deities are dressed like Ganesha. Various other legends are also told and reasons assigned explaining the Ganesha
besa.
During the sacred bath the colours painted on the images generally fade. Seeing the wooden deities in discolour devotees may not have the appropriate devotional attitude and in fact may feel sinful repugnance. For this reason the images are immediately dressed as Ganesha in which they remain mostly covered.
After the Snana Yatra, the images are kept away from public view for fifteen days and during all these days the daily rites of the temple remain suspended. The images are kept on the Ratna vedi inside the temple. This period is called 'Anabasara' meaning improper time for worship. It has been said earlier that the images are discoloured as a result of the sacred bath. During these fifteen days the Daitas (descendants of Viswavasu, the Savara) repaint the images and make decorations. The period of colouring and decorating the images is divided into seven short periods, each of two days duration, and a short period of one day set apart to give finishing touches. Thus the period covers the whole fortnight. On the 16th day the images in their new forms after renovation become ready for the public view. The festival of the first appearance of the Lord Jagannath to his devotees is called Netrotsaba or Nava Yaubana (new youth). According to popular belief the devotee washes away all his sins if he gets a vision of the Lord on this day. On this occasion, therefore, great rush of people occurs in the temple.
The Shilpa Sastras and Agamas testify that the images become suitable for worship only after the performance of the rite of 'Chakshyu Unmilana' (Opening of the eyes). During 'Anabasara', the Daitas offer to the deities only fruits and water mixed with cheese. According to them during this time the deities don't keep well and therefore, take rest. Like human beings they are considered to have fallen ill and are treated by the Raj Vaidya or the king's physician with specific medicines.
The temple-festivals wich are held in a bigger and elaborate scale in the important shrines of Puri and Bhubaneswar are also held simultaneously in all other small shrines of the respective deities, though in modest scales. Likewise the Snana Yatra is held in many other temples of Orissa.
RATH YATRA (CHARIOT FESTIVAL):
Each year, (open to all) in mid-summer, the proxy images of Jagannath, Balabhadra and Subhadra, the deities enshrined in the Jagannath Temple at Puri, are carried in colourful processions every evening for 21 days to the Narendra Tank where they cruise in a bright decorated boat. In gaiety and colour this festival stands next only to the Car Festival. On the full moon day of Jyestha (June), the Snanajatra or the bathing festival is observed when the images in worship are actually brought out for public viewing. After the bathing festival, the deities spend 15 days in seclusion during which period they are repainted and prepared for the Car Festival. The Car Festival is celebrated on the second day of the bright fortnight of Ashadha (June-July) and the deities are taken on a journey of around 3 kms in stupendous and decorated chariots for sojourn in the Gundicha Ghar till the return Car Festival which is held 9 days later. The chariot of Lord Jagannath, known as 'Nandighose' is 23 cubits high and has 18 wheels. The chariot of Balabhadra which is 22 cubits in height and has 16 wheels is named 'Taladwaja'. 'Devadalan', the chariot of Subhadra is 21 cubits in height and has 14 wheels. The chariots are constructed anew every year in accordance with strict and ancient specifications and are pulled by several thousand devotees at a time. In terms of splendor and fervent devotion, the Car Festival is one of the world's most incredible spectacles.
The concept of temple procession, of which the Rath Yatra is probably the most famous illustration, is an important one in Hinduism. The term ratha (chariot) is itself often used as a word meaning 'temple', as both the palace and the vehicle of the God. The chariots in which the images of the deities in the Jagannath temple are pulled through the streets actually resemble moveable temples. In fact, these are designed keeping in view the features of the Bhaskaresvara Temple in Bhubaneswar which resembles a chariot. The relation between temple and chariot form is fascinating. Some scholars feel that the temple form may have developed, in part, from early wooden processional carts. And in Orissa, of course, we have the supreme example of influence in the other direction: the Konark Sun Temple, clearly and beautifully replicating a huge chariot.
When the Rath Yatra (Chariot Festival) was first observed by European spectators in the eighteenth century, the stunned reports they sent home gave rise to the European term 'juggernaut' (corrupted from Jagannath). The occasional accidental fall of a devotee in front of a rolling chariot gave rise to the grossly erroneous misperception of humans sacrificing themselves under the wheels. The misperceptions have long been cleared, but the festival remains one of the most amazing and exhilarating events most of us are ever likely to witness.
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