KALISTHAN: KALI IN A RARE VISAGE

(C) Copyright of Prabuddha Biswas

‘KALISTHAN’ AT PATNA CITY IS THE OLDEST TEMPLE OF ‘GODDESS KALI’ IN THE STATE CAPITAL

THE GODDESS IS HELD IN GREAT REVERENCE BY THE LOCAL POPULACE AND IS CALLED AS CHATURBHUJI MAHA KALI ‘KANKALI’

INTRODUCTION

Kalisthan situated near the Choti Patan Devi Temple and south of the Harmandir temple (in Hajiganj, Patna City) is one of the oldest temples of Goddess Kali in the State Capital.

THE TEMPLE BUILDING

The temple is unusual in its architecture as instead of the regular dome top temple complex, it is more like a single storey residential building with flat roof. A huge peepal tree greets one at the entrance and covers the temple like umbrella. The temple opens into a courtyard. The idol of the Goddess is installed on the western side (facing east). There is a big window in the eastern wall for the devotees to have ‘darshan’ from outside the temple.

MUGHAL RULER SHAH ALAM-II VISITED THE TEMPLE

Shah Alam II had visited the temple in 1765 AD (1188 Hijri) for a ‘darshan’ of the divine image from the window. The emperor was impressed by the then priest of the temple, Baba Basti Ram and donated ‘sanad’ of the land of Kalisthan written in Persian. The present priest Sashi Kant Mishra, is the descendent of Baba Basti Ram.

THE IMAGE OF CHATURBHUJI MAHA KALI ‘KANKALI’

The image of the Goddess is held in great reverence by the local populace and is called ‘Chaturbhuji Mahakali (Kankali)’. There is also an idol of Lord Mahadeva in the reclining posture.

The idols are kept covered with red cloth throughout the year except on special days when devotees are allowed to have a ‘darshan’. The priest of the temple, Sashi Kant Mishra said that the idol of Goddess Chaturbuj Mahakali (Kankali) is very rare; as the stomach of the Mother Goddess is missing.

The sculpture of Chaturbhuji Mahakali (Kankali) is made of touchstone. There are also smaller idols of Goddess Lakshmi and Saraswati. On the right of Mahakali stands the sculpture of ‘Jaya’ and on her left is of ‘Vijay’.

The idols are placed in a higher pedestal, along with roof and pillars, made of stone, similar to the stone pedestals of Choti Patan Devi. On the right side of Maha Kali’s idol is a small earthen mound called ‘Sidha Peeth’.

‘THE EIGHTEEN-CENTURY IDOL OR OLDER’???

The temple has a huge bell gifted by the Maharaja of Nepal in 1853. He had also presented a similar bell (but bigger in size) to ‘Padri Ki Haveli’. Though history of Kalisthan can be traced up to the middle of the 18^th century, the sculpture and the spot is older, according to its priest.

THE PRESENT STATUS

At present the temple is in the midst of a legal dispute over ownership and its day-to-day functioning. The point of dispute is whether it should be controlled by the present line of priests by virtue of inheritance or by a trust. The matter is sub-judice in the Patna City Court. The ‘Sanad’ of Shah Alam-II is also in the custody of the court, according to Mishra.

[Published in Sunday Hindustan Times, Patna, August 10, 2003]

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‘SHADMAN MOSQUE - JEWEL IN THE CROWN’ BY PRABUDDHA BISWAS

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[Published in HT Patna Live, Wednesday, December 11, 2002]

IN PATNA, TWO OF THE MUGHAL RULERS WERE CROWNED; FARRUKHSIYAR AND SHAH ALAM II 

THE RECORD REVEALED THAT SOME OF THE MUGHAL RULERS WERE CORONATED TWICE AND MANY OF THEM WERE CROWNED OUTSIDE CAPITAL ALSO 

THE FIRST CORONATION OF FARRUKHSIYAR TOOK PLACE AT PATNA WHILE THE SECOND CORONATION TOOK PLACE AT AGRA

FARRUKHSIYAR'S PLACE OF CORONATION AT PATNA WAS THE 'SHADMAN MOSQUE' IN THE SPRAWLING AFZAL KHAN BAGH' 

The Shadman Mosque, adjacent to the eastern boundary of the football ground of the Bihar College of Engineering; with its sprawling garden complex, ‘Afzal Khan Bagh’ at Patna, had been the coronation centre of the Mughal ruler Farrukhsiyar. The coronation of Farrukhsiyar brought the city of Azeemabad (Patna) in the centre stage of Mughal power politics.

The early eighteenth century records reveal that the Mughal ruler stayed in the Afzal Khan Bagh for few months before proceeding towards Agra for the final assault.

But the Shadman Mosque and the Afzal Khan Bagh went into oblivion for some time and then rediscovered by Prof. Askari few years back which brought this historical place in the spotlight for the first time. It is generally believed that the coronation of Mughal rulers had taken place only once and that too in the capital city of Delhi, Fatehpur Sikri or Agra. But the records revealed that some of the Mughal rulers were coronated twice and many of them were crowned outside the capital also.

In Patna, two of the Mughal rulers were crowned, the first being Farrukhsiyar and the second was Shah Alam II.

Farrukhsiyar, the Mughal ruler crowned in Patna; was the second son of Prince Azim-us-Shan and was born at Aurangabad (Deccan) on September 11, 1683 AD.

When his father Azim-us-Shan became the vice regal head of the eastern province of Bengal and Orissa, Farrukhsiyar had a taste of princely life partially at Dacca and Murshidabad.

Later, Farrukhsiyar developed a special bond with Patna when his father Azim-us-Shan was transferred there (but the family remained in Murshidabad) in 1704 AD. Azim-us-Shan gave it a facelift and renamed it as Azimabad.

When Azim-us-Shan left Bengal along with his first son for West, in order to seize the Mughal throne in the event of the death of aged Bahadur Shah I, Farrukhsiyar was at Murshidabad.

The forlorn Farrukhsiyar proceeded for Patna enroute to Delhi after receiving a message from his father. But while nearing Patna, he received the news of the death of his father and elder brother in a battle on the banks of River Ravi, near Lahore. Hence, he was forced to abort his trip to Patna and explore his own chances of getting the Mughal throne.

Initially, the power brokers cold-shouldered him, but the pleadings of his mother, his first wife Fakhr-un-Nisa (daughter of a reputed Hussain Syed of Manzindran, Iran Muhammad Taqi) and his youngest daughter softened the heart of Syed Hussain Ali Khan, the then governor of Biihar.

The noted saints, sages and seers of this place, especially Mulla Shadman, disciple of Shah Shahbagh of Bhagalpur forecasted Farrukhsiyar’s accession to the throne.

The public opinion also swung in favour of Farrukhsiyar in the sweet memory of his father, who had successfully beautified Patna as a mini capital city.

On Mulla Shadman’s suggestion, Farrukhsiyar shifted from ‘Bagh Jafar Khan’, Patna City, where he was encamping to a place next to the mosque built by the noted Sufi saint Mulla Shadman and started offering prayers in the said mosque.

Ultimately on March 27, 1712 AD, Farrukhsiyar was formally escorted from the mosque of the garden place Afzal Khan Bagh, immediately west of it and formally crowned in the august presence of Mulla Shadman and the ceremony was performed by Syed Hussain Ali Khan.

A little later Farrukhsiyar left for Delhi in the company of Hussain Ali, collecting army and arms on way. His victory over Jahandhar Shah took place near Agra on December 10, 1712.

And on January 11, 1713 AD, Farrukhsiyar had his second coronation at Agra.

The much reduced Afzal Khan Bagh exists in Patna as the football ground of the Bihar College of Engineering and on the east of it can be found a broken and badly vegetated grave of Mullah Shadman, which needs repair and a long Nort-South corridor also needs to be constructed to protect it as well as to provide shade for sport lovers.

The present edifice of the mosques, where Farrukhsiyar stayed before and after the coronation was reconstructed by one Zulfikar Ali (during 1832-33 AD), whose wife was reported to have inherited the garden mosque from her uncle Mulla Shadman.

It has recently been repaired without any change in its size and shape and very often visited by Hindus and Muslims to offer prayers for the fulfilment of their hopes.

[Text: Prabuddha Biswas & Pics: Anil Kumar]

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‘SRADDHA’ AND ‘PINDA DAN’ AT GAYA – A PART OF COMMON HERITAGE FOR BOTH BUDDHISM AND BRAHMANICAL RELIGION BY PRABUDDHA BISWAS

(C) Copyright of Prabuddha Biswas

[PUBLISHED IN BEHAR HERALD, NEW SERIES VOL.- II, 48TH AND 49TH ISSUE, SEP. 30, 2016, PATNA]

1. PITRIPAKSH MELA IN GAYA IS THE LARGEST GATHERING OF PEOPLE FROM THE HINDU RELIGION, WHERE ONE OFFERS 'PINDA DAN' FOR PARENTS, FOREFATHERS, FOR DEPARTED SOULS.

2. 'PINDA DAN' IN GAYA IS DIRECTLY LINKED WITH PRE-HISTORIC CULT PRACTICES, WHICH THE MAINSTREAM RELIGIONS HAVE BORROWED AND THAT INCLUDE HINDUISM, BUDDHISM  ALSO

3. THE VERY ESSENCE OF 'SHRADDHA' AND 'PINDA DAN' - THE MOST NOBLE AND IDEAL ONE, - WHICH HAS GOT THE UNIVERSAL APPEAL 

4. A PEEP INTO IT, THROUGH THE LENS OF 'HISTORY,   HERITAGE AND COMPOSITE CULTURAL ETHOS OF OUR GREAT CIVILISATION!'

INTRODUCTION

“Through ‘ANCESTORS’, MAN gets the ‘HERITAGE’; and from ‘NATURE’, MAN gets the sustenance; - To carry forward the ‘HERITAGE’.”

Hence, the worship of ‘ANCESTORS and NATURE’ are two pre-historic cult practices that had permeated all the primitive religions and ancient civilizations of the World. They even exist in various forms in all modern religions also. Whatever be its religious affiliation; no other cults have got such a noble and broad appeal and ideal cause with universal appeal.

In India, both the oldest cult practices evolved and amalgamated into SRADDHA CULT. Hence ‘Sraddha’ etymologically means reverence to PITA (Ancestor) and to PRAKRITI (Nature) and they are the oldest cult practices performed by both ‘HINDUS and BUDDHISTS of this country.

As a result, there were emergence of various SRADDHA SPOTS in different parts of the country, in space and time. Among all of them, GAYA KSHETRA in the Magadhan region had emerged as the most important Sraddha Spot in the Brahmanical tradition after its ‘ARYANISATION’ in the late Vedic phases (1,000 B. C. – 600 B.C.).

For Sraddha, Gaya is the ‘PITA-TIRTHA par excellence. The VISHNU PURANA says, “If a Man performs Sraddha with faith, at Gaya, he propitiates BRAHMA, INDRA, RUDRA and other Gods, sages, birds, beasts, men, creeping animals, hosts of PITRIS, all the beings, in fact, the entire World.”

THE CONCEPT

“The conceptual motive of ‘Sraddha’ is to associate human beings with Nature and identifying all the elements of flora and fauna with ancestors,” according to historian Dr. Arvind Mahajan, who has done extensive research on temples and religious sites of Gaya. Mahajan further added “Through ‘Sraddha’, one propitiates not only one’s own dead ancestors but also all departed souls of the World and thereby projects oneself as a well-wisher of the World.”

‘TARPANA MANTRA’ VIS-A-VIS ‘METTA BHAVANA’ – BRAHMANICAL RELIGION COMES CLOSER TO THE ESSENCE OF EARLY BUDDHISM

The sacred chant of ‘Sraddha’ requires the ‘DEVOUT HINDU PILGRIM’ (i) to define the ‘RANGE OF UNIVERSE’ and (ii) then HE will have to establish a complete harmony of the INNER-SELF (HEART) WITH THE NATURE, through ACT OF PIETY: -

“From the highest to the lowest point,

As far as extends the Universe,

Let All Divine Sages and Patriarchs,

All deceased Forefathers,

Both on the side of Father and Mother are propitiated.

Let this humble offering of ‘Tilodaka’

(The ‘Pinda’ offered during the observance of ‘Sraddha’ ritual)

Go to benefit the whole World

From the highest Heaven

Down to this Earth,

To benefit all the inhabitants of the seven continents

Who belonged to Crores of families in the past.”

There is no ritual in Brahmanical Religion which comes so nearer to Buddhism as the ‘Tarpana Mantra’ (in the later ‘Gaya Mahatmya’) of ‘Vayu Purana’). The formula of ‘Metta Bhavana (Cultivation of Friendship)’ in Early Buddhism is very close the essence of Tarpana Mantra: -

“Whosoever may be classed as Living Being,

Whether weak or strong, leaving none aside,

Whether of Long size or of large dimension,

Or of medium size, or of short stature,

Whether small or large,

Whether visible or invisible,

Whether to be found at hand or far off

Whether, actually born or to be born,

Let all beings be happy.”

SRADDHA VEDIS OF GAYA

In course of Sraddha ritual, one offers PINDA to various deities and the entire flora and fauna at different sites known as VEDIS. Apart from the sites of temples, images and icons, these VEDIS include the sites of sacred trees, forests, hills and hillocks, rivers etc. There are 348 VEDIS or TIRTHAS in Gaya where SRADDHA rites are to be performed as mentioned in GARUDA, VAYU, AGNI and SKANDA PURANAS.

‘SRADDHA VEDIS’, ‘SACRED COMPLEX’ AND THE ‘SACRED ZONE’ OF GAYA

Significantly, all SRADDHA VEDIS or TIRTHAS lie within the SACRED COMPLEX of Gaya which extends to a distance of five ‘kos’ (16 KMs) from north to south.

The SACRED GAYA extends from the PRETSHILA HILL in the north to as far as the SACRED ‘BO TREE (MAHABODHI TREE) at Bodh Gaya in the south.

The ‘BRAHMARANYA (at foothills of PRETSHILA)’ in the north and the ‘DHARMARANYA (Bodh Gaya)’ in the south, mark the boundary of the SACRED ZONE.  

The spread of the landscape of Gaya is more or less linear in the north-south direction as in the east it is bounded by the ‘PHALGU RIVER’ which is also a TIRTHA or VEDI and in the west by a range of hills in which are to be found various TIRTHAS.

A good number of trees are also regarded as ‘Sraddha Vedis’; and they are AKSHAYAVATA, BRAHMA PRAKALPITA AMRA, and BODHI VRIKSHA being some of them.

SRADDHA CULT – ROOTED IN THE PRE-HISTORIC CONSCIOUSNESSOF ANCESTORS, ABOUT THE ‘ENVIRONMENT’ AS CRUCIAL TO HUMAN SURVIVAL

1.   The nature of VEDIS and the rituals establish beyond doubt that the SRADDHA CULT is rooted in the pre-historic consciousness of ancestors about the ‘environment’ as crucial to human survival.

2.   The ‘ANCIENT MAN’ feared as well as revered ‘ENVIRONMENT’ and as such was eager to maintain the ECOLOGICAL BALANCE IN NATURE.

3.   The VEDIS related with FLORA were considered as ABODES OF SPIRITS OF ANCESTORS and those related with FAUNA were said to be MESSENGERS.

4.   With the passage of time, it became obligatory for the living beings to MAINTAIN THE SANCTITY OF VEDIS.

5.   Gradually, a belief developed that if one cause harm to SACRED VEDIS; the soul of dead ancestors, who are living there, will take revenge and may cause harm to the concerned person.

ENTRY OF BRAHMANICAL RELIGION IN THE DOMAIN OF ‘SRADDHA CULT’ AND ‘DEIFICATION OF VARIOUS SRADDHA VEDIS’ WITH DIFFERENT GODS

1.   With the entry of Vedic Cults and beliefs in the SRADDHA stream, the SACRED VEDIS were DEIFIED and later PERSONIFIED as various deities from the BRAHMANICAL MAINSTREAM RELIGION.

2.   Though, BRAHMANICAL RELIGION provided one more security cover to the ECOLOGY but it hijacked the simplistic essence of the PRE-HISTORIC CULT, THE BONDING OF THE MAN-NATURE CONTINUUM in the garb of the worship of ‘ANCESTORS and NATURE’.

3.   Since the dawn of civilization, the ASVATTHA TREE has had a special status in India.

(i)           The Brahmanical literature deified it by identifying it with various deities and after declaring it a manifestation of PITRIS got it incorporated in the SRADDHA CULT.

(ii)          The Rig Veda declared ASVATTHA TREE sacred as ABODE OF ‘YAMA’ AND ‘PITRIS (ANCESTORS)’ thereby further strengthening the concept of the offerings being made in favour of the PITRIS at the foot of ASVATTHA TREE.

(iii)        Again the ‘BRAHMANANDA PURANA’ says that BRAHMA was born of ASVATTHA TREE,

(iv)        While PADMA PURANA describes ASVATTHA TREE as the manifestation of LORD VISHNU.

(v)         Offerings made during SRADDHA to different trees of utilitarian nature signify entire flora point to the existence of SACRED VEDI of such a highly revered tree (ASVATTHA) in the SACRED COMPLEX of GAYA.

ENTRY OF BUDDHISM IN THE SRADDHA CULT

(i)           Buddhist literature describes the SACRED COMPLEX of HINDU GAYA as the regions of NADI, GAYA AND URUVELA (BODH GAYA),

(ii)          Which at present  has formed two well-defined sacred areas – the BRAHMA GAYA of Hindus and BUDDHA GAYA of Buddhists, the former representing the eternal domain of ‘AKSHYAVATA’ and the latter that of the BO-TREE or BODHI TREE i.e. ASVATTHA OR PEEPAL.

(iii)        It is interesting to note that at no place other than BO TREE (under which Gautam got enlightment and became Buddha) at BODH GAYA, SRADDHA is offered to PEEPAL TREE within the SACRED COMPLEX.

(iv)        This is the reason enough to believe that the practice of making offerings during SRADDHA at the BODHI TREE at BODH GAYA had been in fashion even in times, before Gautam Buddha.

[Special thanks to Dr. Arvind Mahajan, RDD, Directorate of Museums, Dept. of Art, Culture and Youth; Govt. of Bihar. This writing is the outcome after long discussion and conceptualisation with Dr. Mahajan along with other sources  ]. 

[END OF THE FIRST PART]

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DURGA PUJA CELEBRATION IN PATNA HAS GOT ITS OWN CHARM BY PRABUDDHA BISWAS

(C) Copyright of Prabuddha Biswas

[Published in Page 4 of "BEHAR HERALD", New Series, Vol. - II, 50th & 51st Issue, Oct 15, 2016, Patna] 

The three different cultural strands are being brought alive by the Durga Puja Festivities in the state capital of Patna.

1.   The local tradition of ‘NAVRATRI’,

2.   The eastern tradition of ‘DURGA PUJA’, and

3.   The northern custom of ‘RAM LILA’ provides a unique edge to the festivities here.

With time, newer elements have been included in the festivity, making the ‘Patna Durga Puja Celebration’ as a part of people’s celebration in general, where all communities get involved, making it a grand show of pomp, colours and lights as sea of humanity surging forward throughout night with road-side food stalls of diverse cuisine.

MOTHER GODDESS IN HISTORICAL SETTING

The worship of the Mother Goddess is associated with the ‘fertility cult’, which had its origin in primitive agricultural societies of the world. Discovery of idols of Mother Goddess in various matured forms at the sites of the Indus Valley Civilization prove beyond doubt that the worship of Mother Goddess has been very popular in India from pre-historic times.

In the eastern part of the country, especially in ‘United Bengal (West Bengal and Bangladesh)’; Goddess Durga is worshipped as one of the manifestations of ‘Shakti’.

The eastern India is having strong roots in Shakti Cult worship as we see many sites and temples are dedicated to various manifestations of the Mother Goddess like Tara Peeth in Birbhum (West Bengal), Kamakhya in Assam, Tripura, Rajrappa Temple in Jharkhand, Gaya in Bihar and Ami Temple in Dighwara (Saran) are few of the examples.

BIHAR’S TRYST WITH THE PRIMORDIAL MOTHER GODDESS

The state of Bihar is already known as the birthplace of two religions; Jainism and Buddhism but most of the people are not aware of the fact that the cult of the primordial Mother Goddess which was found in the Indus Valley Civilization again reappeared in the Magadh region during the second urbanization of 600 BC. Initially, it’s images were carved-out in woods, which had perished.

But for the first time, the images of primordial Mother Goddess emerged in the 2^nd Century AD carvings in the rock-pillars of Mahabodhi Temple Complex of Bodh Gaya.

The image of Gaja-Laxmi is the first representation of the primordial MOTHER GODDESS in rock carvings of Bodh Gaya Pillars.  Here, the primordial Mother Goddess have been depicted as River Goddess and black-clouds representing two elephants are pouring water on her head by their trunks, signifying heavy downpour during rainy season. Later, the Gaja-Laxmi has been identified with the Goddess Lakshmi. 

THE CITY OF PATNA HAS THE OLD TRADITION IN WORSHIPPING MOTHER GODDESS

The old records of Megasthenes, Fa-hien do mention about the worship of the Mother Goddess during ancient times in the city of Patliputra.

The presence of the old medieval temple site of ‘Ma Sitala’ in Agamkuan speaks volume about the popularity of Mother Goddess among the local gentry. The town-deities of Patna, i.e. Bari Patna Devi (Maharajganj) and Choti Patna Devi (Patna City) are reverred and worshipped with great respect by Patnaites. From 18^th Century, the worship of Goddess Kali at ‘Ma-Kali Temple’ near Choti Patna Devi Temple has emerged as another manifestation of the worship of the Mother Goddess. 

THE CONCEPT OF ‘AKAL BODHAN’ IS ROOTED TO THE RURAL SOCIETY’S URGE TO SHIFT THE ‘MAJOR COMMUNITY FESTIVAL’ FROM ‘SPRING’ TO ‘AUTUMN’

The season of ‘BASANT (Spring)’ AND ‘SHARAT (Autumn)’ are the time, when weather and the climatic conditions are moderate and enjoyable to human senses. This is the time when there is respite from agricultural activity (either Kharif or Ravi crops) for the peasantry and rural masses in the Indian subcontinent. Hence, this is the time for the ‘community celebration’ for one and all.

But there is one vital difference between ‘Basant’ and ‘Sharat’ seasons. Whereas ‘Basant’ is followed by hot (extremely unbearable) summer months and (heavy) rains but ‘Sharat’ is followed by gradual move towards winter seasons (‘Sheet’).

Majority of the region in the Indian subcontinent have been celebrating several ‘community festivals’ in both seasons with a ‘major festival’ in either of two seasons like Pongal (Tamilnadu), Onam (Kerala), Makar Sankranti (Andhra Pradesh), Bihu (during three times of the year) of Assam, Durga Puja (Bengal), Navratri (during two times of the year) of Bihar and other parts of the country and Diwali (Northern India) and many more.

Over the years, the public mood tilted in favour of the celebration of ‘community festival’ from ‘Basant to Sharat’ seasons in Eastern India, as for e.g.

(i)           In Bihar, the celebration of Chaiti Durga (March-April) shifted in favour of invocation of Ma-Durga during October (Aswin, Devi Paksh) and Chat Puja (Kartik) during November respectively.

(ii)          In Bengal also, ‘Basanti Puja (Chaitra month) of Goddess Durga’ gradually shifted to Autumn (Sharat) months i.e. in September-October.

In popular term, this SHIFT in the community festivity in eastern India has been termed as ‘AKAL BODHAN’ of ‘Ma Durga’.

‘AKAL BODHAN’ COCKTAILED WITH MYTHOLOGY AND FOLKLORE

1.   In Bihar, people participate in the ‘Navratri’ festival recalling the ‘untimely (emergent) invocation’ of Goddess Durga by Rama, for taking her blessings, before proceeding to fight with demon King Ravana. Hence, the Navratri festival is a part of the war- preparation and it is worshipped with great sanctity, as people in general avoid taking non-vegetarian foods during nine days of the festival. It is only, after the ‘havan’ on the Navami day, that the local gentry in Bhar come out ‘wearing’ new dresses to celebrate the ‘Navratri festival. On tenth day of Navratri i.e. on ‘Dusshera’, Lord Rama kills Ravana. That is the day of great celebration for one and all.

2.   In Bengal, Goddess Durga is visualized as the ‘loving girl-child’, who comes from ‘SASURAL’ (mother-in-law’s house) to ‘MAIKEY (father’s house)’ along with her children (Lakshmi, Saraswati, Kartik and Ganesh), during her vacation, in her native village.  And that is occasion for the celebration of family members (parents, brothers and sisters) and villagers alike. During Durga Puja, Bengali families celebrate the occasion with all its expressions, i.e. through dresses, cuisines, visiting various places as a part of the manifestation of all out ‘community celebration’ of joy and hapiness.

PRESENT CELEBRATION OF DURGA PUJA HAS ITS INITIATION BY THE ‘BENGAL GRAIN MERCHANTS’, SETTLED IN PATNA AND OTHER TOWNS, ALONG GANGES

In Patna, Durga Puja celebrations have become more vibrant and popular due to the amalgamation of various social streams, local traditions, folk lores and diverse ritualistic traditions, representing a composite culture.

From the Mughal period to pre-Railway colonial period, the riverine Bengal got intimately connected with the riverine tracts of Gangetic Bihar, through river Ganges, Buri-Gandak, Gandak and Ghaggra. Traffic patterns were conditioned by the marketing calendar of the staple items of the ‘Ganges borne Trade’.

The ‘Overland Routes’ of South Bihar and Jharkhand were controlled by Banjara community, through their own carts of Bullocks and tattoos (ponies).

Rice, available in the Bengal markets in December and January, was shipped to Bihar and the North-Western Provinces, where demand always exceeded local supply.

(i)           In the first six months of the year the surplus rice (along with opium and tobacco) of the great alluvial and deltaic plain between the Himalayas and the Bay of Bengal made up a substantial portion of the upcountry traffic.

(ii)          Oilseeds (along with indigo, sugar, hides, wheat, salt petre), largely a product of Bihar and northwestern provinces, reverse the trade flow in the second half of the year when they were despatched to the Calcutta market.

Many Khatri traders from the northwest, Jain and Marwari traders from Gujarat and Rajasthan, Bengali traders got settled in important port towns of Bihar; along Ganges which include Bhagalpur, Munger and Patna among others.

The family members of the ‘Grain Merchants of Bengal’; who were settled in these towns, initiated Durga Puja in their houses; which was the starting point of the Durga Puja in Bihar. Later, it was taken up by the local population as a part of popular ‘community Puja’.

Hence, Patna and Bihar has been observing Durga Puja from the late Mughal period but the earliest surviving Durga Puja of state capital is about 270 years old.

THE EARLIEST SURVIVING ‘COMMUNITY DURGA PUJA’ OF PATNA

There are three oldest Durga idols of the state capital which were initiated by Bengali families but now they are part of the very popular Durga Puja of the old town of ‘Patna City’ and are revered as living deities by the local population.

They are as follows: -

(i)           Bari Devi ji’ of Marufganj is the oldest surviving Durga Puja of more than 270 years old; i.e. mid 18^th Century. It is said to be started by Sri Batakrishna Kamalakanta Saha as a ‘family Durga Puja’. But in 1953, when the Saha family found it beyond their means to continue the Puja celebration; local businessmen and residents rose to the occasion and took over the management.

But the Saha family, continued to be involved, especially on matters related to the rituals. The priest continues to come from Srirampore, the idol-makers from Krishna Nagar and the drummer from Murshidabad! And they have been coming over to Marufganj for the last six generations. Significantly, Marufganj Bari Devi Ji Puja Committee comprise people from all communities; i.e.  Muslims, Sikhs and Hindus; all come together making it a secular character and meeting point of one and all.

(ii)          The Community Durga Puja of Choti Devi ji (Bari Devi Ji) of Maharajganj was initiated more than 170 years before by Ramchandra Mahto. The present day custodians of the Durga Puja admit that the worship of Choti Devi (Bari Devi) ji has its inspiration from the Bengali Durga Puja but they have integrated beautifully with local customs of Navratri.

(iii)        Dalhatta Durga Puja near Purab Darwaza is also more than 150 years old.

Both Bari Devi and Choti Devi idols are placed in the two extreme end of the old Patna City. While, Bari Devi is placed near the PURAB DARWAZA; the Choti Devi is placed outside the PASCHIM DARWAZA in the Maharajganj locality. Both idols are visualized as two sisters in local traditions.

Both sisters are sculpted by the same family members of idol-makers under ‘EK-CHALA’ tradition of Bengal, which includes the Dalhatta Durga idol also.

“At Marufganj, the worship of Bari Devi Ji is done according to the Tantric School whereas the worship of Maharajganj Choti Devi Ji follows the Vedic tradition of worship,” as expressed by Purohit Bhuveneshwar Mishra of Maharajganj to this correspondent, many years ago. Mishra added, “The Puja at Maharajganj begins from PRATIPADA through PRANPRATISTHA; but the Puja at Marufganj begins at MAHA PANCHAMI.” He could express the amalgamation of two cultural trends (Bengali Durga Puja and the local Navratri) in the old Patna city, through the Durga Puja celebration.

THE IMMERSION PROCESSION AND ‘KHOINCHA MILAN’ OF TWO SISTERS IN PATNA CITY

The people of Patna City witness a great event during Dashami day in which two sisters meet each other near SDO court (Belwarganj).

The Choti Devi Ji of Marufganj reaches the place of ‘MILAN Samaroh’, much before Bari Devi ji and waits for the elder sister.

The Bari Devi Ji of Marufganj comes all the way from Purab Darwaza, through procession, along the Ashok Rajpath towards west. The sea of Humanity waits for hours to see the glimpse of Bari Devi JI on the way. The three Km route takes couple of hours to cross. At about 10 PM, both sisters meet at the designated place where lakhs of people gather to watch the ‘KOINCHA MILAN SOMAROH (exchange of gifts and Sindoor).

After that, the procession of Bari Devi Ji moves forward followed by Choti Devi Ji behind. Both move further west, up to Bari Patan Devi Main Gate, where both idols were performed with Arti.

Then Bari Devi Ji moves towards Bhadra Ghat for the immersion followed by Choti Devi Ji and then followed by the immersion of other idols of Patna city, signifying the unity and cultural continuity of the old Patna City areas.

[END OF THE FIRST PART]

(C) Copyright of Prabuddha Biswas