Daru Brahma

Daru otherwise means wood. Brahma is the mystic expression of the Lord. It is the cosmic cause and comic result of the universe. It means ever expanding and endless. Thus Daru Brahma or Daru Devata is the supreme power of the Universe. We know Lord Jagannath and other three images seated on the Ratna Singhasan of Jagannath Temple are made of wood. The wood is not any ordinary wood; it is neemwood and neem-wood is also called Daru in the interior parts of Orissa. 

The greatness of Darubramha has become lively in Sarala Mahabharata. Once being enraged, king Hiranya questioned his minor son Prahallad about the existence of Lord Vishnu. Prahallad trembling with fear indicated towards a pillar of the palace as his answer. Hearing the bold answer of Prahallad, Hiranyakashiapu with much cruelity and wrath hit the pillar by his sword. Immediately, Lord Vishnu emerged out of the pillar taking the form of a lion-headed human being and mitigated the sorrows of Prahallad.

The lion-headed God is named as God Narasingha, who is also regarded as the fourth incarnation of Lord Vishnu. In his invocation, Sharala Das has described God Narasingha as Shri Jagannath. Both Lord Shri Rama Chandra and Lord Shri Krishna Chandra are also named as Kodandadhari and Dandadhari. Thus, it indicates the relation of these Lords with Daru. In the Musali Parva of Oriya Mahabharat, it has been described that the hunter Jara scored an arrow to Lord Shrikrishna and the Lord breathed his last and merged with Lord Vishnu. Later, Jara and Arjuna, while started to perform the cremation of Lord Shrikrishna, they heard the heavenly voice, “set fire to my mortal remains using the log on which you would find the symbols conch, wheel, club and lotus. As per the direction, Arjun placed the body of Lord Shrikrishna on sandal wood and set fire. But the Pinda (heart) did not burn. During the event, Jara thought that Shrikrishna had earned sins during His life time and thus, the fire is unable to make His body to ashes.

While Jara was thinking deeply, again the Heavenly voice resounded, “This heart will not be gutted in fire. Immerse the body in the sea, it will be worshipped on the Neelasundar hill.” After alapse of long years, a Daru was seen floating on water on the confluence of river and Bay of Bengal at Banki – Muhan near Jagannath Dham, Puri. King Indradyumna and Savar Biswabasu brought the Daru to the shore. King Indradyumna, desirous of constructing idols of Lord sighted the sacred wood according to search made as per the command of the Lord Jagannath to King Indradyumna but wood could not be sized, and form of Lords could not be conceived. But one offered flower, from the head of the deity, Kakatpur Mangala, on advice of sage Narada, was taken and touched on the sacred wood, Daru Brahma. It facilitated the splitting of wood, into three parts for construction of idols Lord Jagannath, Subhadra and Balabhadra according to requirement.

Nabakalebara (construction of New idols of the three Lords) is regular feature of Jagannath Dham at regular intervals. Old, worn out idols are rejected and buried under earth and in their place, new idols for 3 deities, i.e. Lord Jagannath, Subhadra and Balaram, are constructed. From that time, tradition, still remains that carpenter sevaks and priests living with discipline pray, Maa Mangala of Kakatpur remaining prostrated before the deity at Kakatpur to bless them by showing sacred trees and their location, which alone are suitable for construction of the idols in Nabakalebara. In fact, they get the indication, and exact location of the sacred trees and path leading to the location, in dream. This practice and custom and tradition have been existing for years together, without any deviation. Successful guidance, without fail, from the deity to find out the sacred tree, is evidence of the power and energy of Maa Mangala of Kakatpur. This is unchallenged evidence which stands unrebutted giving concrete proof of blessing, power of mother Mangala on their devotees. Even Lord Jagannath who is the hood of all universe is assisted by mother, who is the original power for creation, is actively guiding the carpenters and priests to find out suitable sacred wood, according to specific features, for construction of the sacred idols, what to speak of other evidence.

Chhera Pahanra

Chhera Pahanra is a ritual performed by the king of Odisha every year during the festival of rathayatra.This is an Odia word where “Chhera” is Sprinkling of holy water and “Panhara” is sweeping thus Chhera Panhara is sweeping of while sprinkling holy water.After the idols of the lords are installed on the chariots the king sweeps the chariots of lords with a golden broom.Then he worships lord by performing an aarati after which the holy journey starts.

This ritual is performed to show the devotion of the head of the state to the lord.It is a very old ritual .With time the ritual has changed.Earlier the king used to sweep the street before the chariots as it used to proceed but with time the ritual has changed and now the kings sweep the chariots only.

Well why this change has occured?There is an interesting story regarding this.It is said that years ago a King of Puri, Purusottama Dev, was to marry a princess who was the daughter of king, Maharaja Sallwo Narasingha, from the district of Kanchi. When the Ratha-Yatra festival was to take place, the father of the princess was invited.

But the king didn’t come instead he sent his minister . When he attended rathayatra, the King of Puri was performing Chhera Panhara.The minister, rather than being impressed with the devotion of the King for Lord Jagannatha, did not approve of him sweeping the road.

When he reported this to King Sallwo Narasingha, the king objected to the idea of his daughter marrying the King of Puri since he was merely a street sweeper. Purusottama Dev on learning this got angry and thought of teaching a lesson .So he attacked Kanchi. Unfortunately, King Purusottama Dev was badly defeated.

On his way back to Puri , he stopped at the cottage of Saikatacharya, a devotee of Lord Jagannatha. Saikatacharya pointed out that the King had forgotten to ask permission from Lord Jagannatha before he went to attack King Sallwo. With this realization, the King returned to Puri and visited the temple of the Lord. He spent the night in the temple, and with doors closed, before the night came to an end, the King heard a voice asking why he was so distraught over such a simple thing. The voice said to go gather his troupes again, and that we two brothers, Jagannatha and Balarama, would go along to fight on the King’s behalf. As the news spread, many people, both old and young, joined the King’s forces to fight with Their Lordships. However, as they went, the King was filled with some doubts if its going to be true or just an illusion.

While the King and his army went onward, far ahead were two soldiers that rode on one black horse and one white horse. They stopped to quench their thirst at a small village near Chilika Lake by buying some yogurt from a devotee named Manika. She offered them yogurt, but when she asked for money, they said they had no money. Instead they gave her a jeweled ring and told her to give it to King Purusottama Dev, who would then give her money.

After some time, the King caught up to the lady, who flagged him down to give him the ring and asked for money for the soldiers’ drink. The king was shocked to see the ratnamudrika ring of Lord Jagannatha and then regained his confidence that, indeed, Their Lordships had certainly come with him. In payment for the ring, the king gave her the whole village, which is still named Manikapatna. After this the king and his troupes were victorious over King Sallwo, and he also took King Sallwo’s daughter as well.

However, he did not marry her after the insult her father had given him. He instructed his minister to see that she got married to a qualified sweeper. After one year, at the next Ratha-Yatra, the King again performed his sweeping ceremony. At that time, the king’s minister announced that the king was the most qualified sweeper, since he swept for Lord Jagannatha, and that the princess, Padmavati, should marry him. Then Maharaja Purusottama Dev married the princess.At some point after this, the King of Puri discontinued sweeping the streets and now sweeps the carts.

BAISHI PAHACHA

THE SIGNIFICANCE OF BAISHI PAHACHA AT JAGANNATH TEMPLE , PURI :

1) Avatars of Vishnu and Baisi Pahacha:

Puranas list the avataras of Vishnu. A description of these is found in the Bhagavata Purana, Canto 1. 1) Catursana 2) Narada 3) Varaha 4) Matsya 5) Yajna 6) Nara-Narayana 7) Kapila 8) Dattatreya 9) Hayasirsa 10) Hamsa 11) Prsnigarbha 12) Rsabha 13) Prithu 14) Narasimha 15) Kurma 16) Dhanvantari 17) Mohini 18) Vamana 19) Parasurama 20) Raghavendra (Rama) 21) Vyasa 22) Balarama 23) Krishna and 24) Kalki.

Of these 22 avatars are considered most important and these steps (Baisi Pahacha) of puri Jagannath temple symbolizing for salvation. These are 1) Catursana 2) Narada 3) Varaha 4) Matsya 5) Yajna 6) Nara-Narayana 7) Kapila 8) Dattatreya 9) Prsnigarbha 10) Rsabha 11) Prithu 12) Narasimha 13) Kurma 14) Dhanvantari 15) Mohini 16) Vamana 17) Parasurama 18) Rama 19) Vyasa 20) Balarama 21) Krishna and 22) Kalki.

According to belief, all sins of the pilgrims disappear who touch these steps even once.

Baisi Pahacha ( meaning 22 steps of the Jagannath temple ) is the path to salvation!

The devotional songs in Oriya known as”Bhajana” and “Jananas” reflect the devotees’ faith in the powers of Lord Jagannath. The Odissi dance owes its origin to the temple rituals observed in the “Bada Deula” (the big temple).The “Baisi Pahacha” (22 steps to the temple) is described in the devotional songs as the place where one re-examines and affirms his faith in Lord Jagannath.

2) Rites before Jagannath temple for salvation of forefathers:

As you enter first, you have to walk on the Baisipahacha or sacred 22 steps. The ‘Sradha’, annual rites of Hindus are usually performed here. Many Brahamanas sit here for these sacred rituals.

Thousands of people drawn from all over the State and neighboring States gathered in front of the ” Simha Dwara ” or the Lions Gate of Sri Jagannath temple at Puri and perform rituals for salvation of their fore fathers.

After performing the prescribed rituals, the devotees lighted jute sticks and raise it upwards at the sky praying that let these candles show the departed souls light to the heaven, through the Baisi Pahacha ( meaning 22 steps of the Jagannath temple ) after taking Mahaprasad , which is the path to salvation.

The people perform such ritual without fail as they get opportunity once in a year to perform rituals for salvation of their fore fathers up to many generations.

The Hindus believe that the soul of fore fathers descend on earth during the Mahalaya which is the dark fortnight and on the Diwali , the ancestors show them light to the heaven for their salvation.

3) Buddhist, Jain and Sikh groups are allowed into the temple compound if they are able to prove their Indian ancestry.

The Jains too have many things incommon in their spiritual practice with the cultof Lord Jagannath. They have an unflinching belief that the 22 steps of Puri temple represent22 Tirthankars out of 24 of their religion. The other two Tirthankers are represented through the stone citadel (Ratnavedi) of the temple and the Grand Road (Badadanda) of Purushottam Khetra. When a Jain devotee enters Jagannath Temple and starts climbing the 22 steps, he touches each step in deep reverence and then touches his head as a mark of adoration to the Trithankars of his religion.

Mahaprasada of Lord Jagannath Puri

Mahaprasada of Lord Jagannath Puri is one of the four cardinal points of pilgrimage for the Hindus. These four cardinal points are held in high reverence among the Hindus as it is believed that Lord Vishnu Himself graces these four places with His presence. It is believed that while He takes His bath in Rameswaram, He meditates in Badrinath. And while He rests in Dwarka, He has His food in Puri. A lot more emphasis is therefore laid on the temple food at Puri. The word “Mahaprasad” itself is a pointer to the same. In all other temples in India, devotees may take “PRASAD”- the holy food that has been offered to the deities. But the food offered to Lord Jagannath that is distributed among the devotees is called “MAHAPRASAD”. The Mahaprasada at Jagannath temple consists of 88 different types of Bhog that are prepared in different phases daily. However on special occasions and during festivals the number of items increases drastically. Rasagollas are not allowed for Bhog except during Suna Vesha while the Deities remain on Rath after returning from Bahuda Yatra. Daily Mahaprasad of Lord Jagannath Daily offerings are made to the Lord six times a day. These include: The offering to the Lord in the Morning that forms His breakfast and is called The Gopala Ballava Bhog. The Sakala Dhupa forms his next offering at about 10 O’ clock in the morning Sakala Dhupa. This generally consists of 13 items including the Enduri cake & Mantha puli. Bada Singhara Bhog forms the next repast & the offering consists of Pakhala with dahi and Kanji payas. The offerings are made in the bhog mandapa, about 200 feet from the Ratna Vedi. This is called Chatra Bhog and was introduced by Adi Shankaracharya in the 8th century to help pilgrims share the temple food. The Madhyanha dhupa forms the next offering at the noon. The next offering to the Lord is made in the evening at around 8 o’clock in the evening eight in the evening it is Sandhya Dhupa. The last offering to the Lord is called the Bada Simhara Dhupa. Breakfast is a seven item treat — Khua, Lahuni, sweetened coconut grating, coconut liver, and puffed rice sweetened with sugar known as khai and curd and bananas. The Mahaprasad of Lord Jagannath are distributed amongst the devotees near the Ratnavedi in side the frame of Phokaria which is being drawn by the Puja pandas using Murujexcept for the Gopal Ballav Bhog and Bhog Mandap Bhoga which are distributed in the Anabsar Pindi & Bhoga Mandap respectively. The items that form the core of offerings to Lord Jagannath’s Mahaprasad are: Gopal Ballav Bhog (Breakfast at 9.00 A M ) The offering is the first one of the daily Prasad to Lord Jagannath.The Bhogs are offered at the Anabsar Pindi. Ballav Khai – 44 Oli Ripe Plaintaih – 7 Nos Nadia Khudi – 3 Sara Big Kora – 29 Nos Small Kora – 220 Nos Members of Sevayats conduct this Puja in 5 Upchars. The sevayats who conduct this ritual are Puja Panda, Sudha Suar, Ballav Jogania, Suar Badu, Gara Badu, Palia Maha Suar. In the month of Dhanu Sankranti, Ballav Bhog is offered along with Pahali Bhog. Similarly on the DolaPurnima and Snana Purnima days, the Ballav Bhog and Sakal Dhup are taken up at one time. During Anabasar the Bhogs are offered near Jay-Vijay door as Sarpamanohi, but not on ballav pindi. Sakala Dhupa (Morning Meal at 10.00 A M ) This is the first cooked meal Bhog. The Sevaks offer this Bhog with 16 Upchars on sitting on Ratnavedi. The following items are offered as Bhog for the purpose. Pithapuli – 4 Sara Badakanti – 5 Sara Enduri – 6 Nos cut in to 12 pieces Mitha Puli – 6 Nos Dahi Alu & Gray – 1 Sara Hanskeli – 2 Sara Sanakanti – 3 Sara Chand for Puja Panda – 9 Kakapua Jhilli – 4 Nos Ada Pachedi – 4 Sara Bundia – 1 Sara Tata Khechudi – 6 Khuda Bada Kania – 3 Kudua Nukhura Khechudi – 3 Sana Khechudi – 3 Sri Balabhadra Khechudi – 2 Kudua Mendha Mundia – 1 No Sana Kania – 2 Kudua Oil Khechudi – 3 Saga – 5 Bhoga Mandapa Bhoga (Supplementary to Breakfast at 11.00 A M ) As per the demand of the devotees. The Bhogs are sold on Payment. Madhyanna Dhupa (Mid Day Meal at 12.30 to 1.00 P M ) Like the Sakal Dhup, this is also performed in 16 Upchars. The Sevayats engaged for the Sakal Dhup are only allowed for Madhyan Dhup and Sandhya Dhup. Generally different types of sweet cakes are offered during this Puja. The Bhogs used for this purpose is as follows:

Bada Pitha – 4 Sara Bada Arisa – 18 Nos Matha Puli – 17 Nos Bada Bada – 9 Nos Sana Kakara – 4 Sara Jhadei Nada – 2 Oli Suar Manohar – 30 Bada Khairachula – 1 Bada Puspalak Arisa – 10 Gaja – 1 Oli (24 Nos) Paga Arisa – 9 Biri Badi – 4 Oli Thali Anna for Subhadra – 3 Kudua Thali Anna for Jagannath- 4 Kudua Sana Oli Oria – 4 Oli Muga Dali – 4 Oli Sana Oli Marichi Pani – 4 Oli Sana Kadamba – 5 Oli Bada Khirisa – 1 Oli Subas Pakhal – 11 Oli Chhena cake – 2 Sara Sakara – 2 Oli Sana Oli Bada Khirisa – 4 Oli Pana – 5 Oli Kadamba Handi – 3 Nos Bada Oli Marichi Pani – 4 Oli Pita Anna – 4 Oli Bhog Oria Bada – 10 Oli Thali Anna for Sudarsan – 2 Kudua Balabhadra Thali Anna – 9 Kudua Jh nada Tada – 1 B oak Arisa – 6 Marichi Ladu – 50 Sana Khairachula – 4 Thali paka Dhaula – 9 Manohar – 8 Jhadeinada Gula – 10 Nos Bada Kakara – 9 Nos Sana Arisa – 21 Nos Tripuri – 5 Sara Sandhya Dhupa (Evening Meal at 7.00 to 8.00 P M ) After the evening Arati, Sandhya Dhup Bhog is offered. This Arati is also called as Jaya Mangal Arati. Items are also prepared on request of devotees. The following items are presented for this Bhog. Chipuda Pakhal – 14 Oli Sana Oli Pakhal – 2 Oli Kanar Puli – 3 Oli Hata Poda Amalu – 7 Sana Amalu – 83 Pani Pakhal – 23 Oli Sakara – 5 Oli Math Puli – 22 Bada Amalu – 21 Bada Singhara Dhupa (Late night Meal at 11.00 P M ) This is the last Bhog of the deities. As per the record of Rites of Srimandir, the time has been fixed for 11.15 pm. Before Dhup, the Palia Puspalaks dressed up the deities with silk dressed (Pata), flower garlands and singing Gita Gobinda. The Bhog is performed with 5 Upchars by three members of Puja Pandas by sitting at the side of Ratnabedi. The following items are offered. Suar Pitha – 1 Sara Rosa Paika – 1 Sara Mitha Pakhal – 11 Kanji – 3 Oli Sarapuli Pitha – 5 Sara Biri Buha Pitha – 1 Sara Kadali Bada – 15 Khiri – 6 Oli

Nalbana Bird Sanctuary

Nalbana Bird Sanctuary Nalbana Island is the core area of the Ramsar designated wetlands of Chilika Lake. Nalbana means a weed covered island In the Oriya language. It is a major island in the center of the lake and has an area of 15.53 km2 (6.00 sq mi). The island gets completely submerged during the monsoon season. As the monsoon recedes in the winter, lake levels decrease and the island is gradually exposed, birds flock to the island in large numbers to feed on its extensive mudflats. Nalbana was notified in 1987 and declared a bird sanctuary in 1973 under the Wildlife Protection Act. Large flocks of Greater flamingos from Iran and the Rann of Kutch in Gujarat, feed in the shallow waters of the lake. Other-long legged waders seen around Nalbana Island are the Lesser Flamingos, Goliath Heron, Grey herons, and Purple herons, Egrets, Spoonbills, Storks and Black-headed Ibis. Goliath Heron Rare birds reported in the lake are Asiatic Dowitchers , Dalmatian Pelican , Pallas’s Fish-eagles , the very rare migrant Spoon-billed Sandpiper and Spot-billed pelican . The White-bellied Sea Eagle, Pariah Kite, Brahminy Kites, Kestrel, Marsh harriers, and the world’s most widespread bird of prey, peregrine falcon, are among the raptors seen here. Many short-legged shorebirds are seen in a narrow band along the shifting shores of the lake and islands. These include Plovers, the Collared Pratincole, Ruff, Dunlin, Snipes and Sandpipers. Larks, Wagtails and Lapwings are also found on the mudflats. Feeding in deeper water are the longer-legged Avocets, Stilts and Godwits. The higher vegetated areas of the lake support Moorhens, Coots and Jacanas. Pond Herons and Night Herons can be seen along the shores with Kingfishers and Rollers. Little Cormorants are seen on perches around the lake, Compact flocks of Brahminy Ducks, as well as Shovellers, Pintails, Gadwall, Teals, Pochards, Geese and Coots, are also seen. Nesting colonies of Gull-billed terns and River terns are seen on the Nalabana Island. In 2002, The Bombay Natural History Society survey recorded 540 nests of the Indian River Tern at the island, the largest nesting colony in the southeast Asia.

Patti Dian

PATTCHITRA DIETIES (patti dian)
After a lavish holy bath with the water of 108 pitchers, the divine siblings of Puri temple — Lord Jagannath, Lord Balabhadra and Goddess Subhadra have caught fever. So the trinity takes rest in ‘Anasara Ghara’ where the lord receives the secret seva of raj vaidyas and daitapatis.
In the Ansar period, devotees worship the paintings of their Gods which are hung in the temple as substitutes. The paintings of Lord Jagannath, brother Balabhadra and sister Subhadra are made on cloth in black, white and yellow colors respectively. These paintings are called Anasar patti and are made by the chitrakars. Since the paintings are made on cloth which in local language is called patta, the painting is called pattachitra which means painting on cloth. Pattachitra is linked to Lord Jagannath temple, Puri and hence it is believed that painting is as old as the temple which dates back to 12th century.
Chitrakara starts the work only on jestha amavasya (no moon day) and complete the entire painting by 15 days. They first get the new cloth and soak it in water. Then create a double layered canvas out of it The artistes also create a variety of colours from natural elements. Most of these are created by grinding mollusc and conch shells and then adding pigments of flower extracts or other natural ingredients. Colors are mostly obtained from natural resources. Powder of the conch shells make for white color. A stone called haritala is used for yellow and indigo for blue. Black is obtained by burning the coconut shells or from the lamp black. Red oxide stone is used for red color. Chitrakars make abundant use of the available natural resources so much so that they use coconut shells to keep the colors.
The trio deities known as Ananta Narayan, Ananta Basudev and Bhubaneswari. Ananta Narayan represents Lord Jagannath, Ananta Basudev is Lord Balabhadra and Bhubaneswari is Goddess Subhadra. Each of the patta paintings is created on a cloth that is 5.5 feet long and 4 feet wide.
The patti dian’s are worshipped in the sanctum until the lords return from their vacation to their aunt’s house during the bahuda yatra. After that these are placed at the Basudev temple.

Jayadeva

Jayadeva

 

Jayadeva was a Sanskrit poet circa 1200 AD. He is most known for his composition, the epic poem Gita Govinda, which depicts the divine love of Krishna-an avatar of Vishnu and his consort, Radha, and it is mentioned that Radha is greater than Hari, and is considered an important text in the Bhakti movement of Hinduism. He was born to an Kama bajrajana Buddhist family

Basohli painting (circa 1730 AD) depicting a scene from Jayadeva’s Gita Govinda.
Jayadeva was born in Kenduli Sasan (formerly Kendubilva), in the Prachi valley, Khurda district in Odisha. Kenduli Sasan is a village near the famous temple city of Puri. At the time of Jayadeva’s birth, Odisha was under the rule of Ganga dynasty king Chodaganga Deva. It was during the reign of this monarch and his son and successor, Raghava, that Jayadeva composed his Sanskrit epics. Chodaganga Deva, originally a Shaiva, was strongly influenced by the devotion to Krishna in and around Puri and became a Vaishnava devotee of Krishna himself.
The poet’s parents were named Bhojdeva and Vamadevi. From temple inscriptions it is now known that Jayadeva received his education in Sanskrit poetry from a place called Kurmapataka, possibly near Konark in Odisha. Later on, Jayadeva married Padmavati, who according to temple inscriptions, may have been an accomplished temple dancer on her own right.
Prachi valley has a long history of worshipping Madhava, another name for Krishna. During Jayadeva’s period, it was known as a religious place dominated by Vaishnava Brahmins. Even today, the village of Kenduli Sasan is replete with images of Madhava. Undoubtedly, the great poet must have been influenced by the devotional milieu in that area when he composed his magnum opus, the Gita Govinda.

Historical records on Jayadeva’s life

Inscriptions at Lingaraj temple, and the more recently discovered Madhukeswar temple and Simhachal temple that were read and interpreted by Dr. Satyanarayan Rajaguru shed some light on Jayadeva’s early life. These inscriptions narrate how Jayadeva had been a member of the teaching faculty of the school at Kurmapataka. He might have studied there as well. It must have been right after his childhood education in Kenduli Sasan that he left for Kurmapataka and gained experience in composing poetry, music and dancing.
The earliest mention of Jayadeva outside Odisha are by Chand Bardai, the court poet of Prithviraj Chauhan. The next earliest reference outside Odisha is found in an inscription of Raja Sarangadev in the year 1201 A.D. These records establish that the Gita Govinda became popular throughout India within a brief period of its composition, perhaps because it was regularly performed in the Jagannath temple of Puri.
Some further details about Jayadeva have been garnered from a book by an Odia Vaishnava poet Madhava Patnaik, who was contemporaneous to Chaitanya in the fifteenth century. Madhava Patnaik’s book gives a clear account of Chaitanya’s visit to Puri. He mentions that Chaitanya paid a visit to Kenduli Sasan near Puri to pay homage to Jayadeva and to chant passages from the Gita Govinda. The book mentions that Kenduli Sasan was in fact the birthplace of the illustrious poet. Madhava Patnaik’s book also gives an account of Jayadeva’s early life from the legends around Puri. It mentions Jayadeva as excelling in the Shastras and the Puranas from early childhood.

Works of Jayadeva:

Jayadeva was instrumental in popularizing the Dasavatara, the ten incarnations of Vishnu in another composition, Dasakritikrite. Furthermore, the classic Tribhangi (threefold) posture of Krishna playing the flute gained popularity due to him.
Two hymns composed by Jayadeva have been incorporated in the Guru Granth Sahib, the holy book of the Sikh religion. Although it is not clear how these medieval Odia hymns found their way to the Sikh religion, there are records narrating how Jayadeva’s work had a profound influence on Guru Nanak during his visit to Puri.
The illustrious poet also institutionalized the Devadasi system in Odia temples. Devadasis were women dancers specially dedicated to the temple deity, and as a result of the great poet’s works, Odia temples began to incorporate a separate Natamandira, or dance hall, within their precincts for Odissi dance performances.

The Gita Govinda

Gita Govinda manuscript c. 1500.
The Gita Govinda is the best known composition of Jayadeva. It is a lyrical poetry that is organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadas.
The first English translation of the Gita Govinda was published by Sir William Jones in 1792, where Kalinga (ancient Odisha) is referred to as the origin of the text. Since then, the Gita Govinda has been translated to many languages throughout the world, and is considered to be among the finest examples of Sanskrit poetry.

Deva Snana Purnima

Deva Snana Purnima

Snana Purnima is the day the deities are bathed by 108 pitchers of water brought from the well near Sitala temple in the precincts of the Jagannatha temple. The deities bathe, dress up in the Gajanana or Ganesha Vesha and even their daily food offering or Bhogalagi is done in full public view on the Snanamandapa. Their remains no virtual difference between the devotees and their Lord. This day deemed to be the birthday of the Lord Jagannatha also accounts for the traditions followed before the Ratha Yatra.

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 Odisha records the rituals of the festival. Sriharsa in his ‘naisadhiya Charita’ 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 Odisha) 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 Odisha 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 India and many other countries also..

Garuda-stambha

The pillar, found in front of many Vishnu temples, on top of which stands Garuda, Lord Vishnu’s carrier.
In Jagannath temple Puri, in front of Natya Mandira This is a spacious hall, 21m (65 feet) in length and 20m (61 feet) wide. This is where the “Garuda Stambha” is located. Lord ‘Chaitanya’ always refrained from going inside the sanctum sanctorum and used to view the Lord from a distance from behind this column (Garuda Stambha). Apparently the first time he came for darshan of the Lord, he rushed inside in an ecstasy of devotion and fell senseless. Not knowing his greatness he was thrown out by the stupid attendants. Later on of course they realized their mistake and welcomed him with garlands from the deity. However every time he came near Jagannatha, tears would flow from his eyes and he would dance and sing in a paroxysm of delight and very often lose his senses. Ever after that he refused to face the Lord but always saw him from behind the Garuda Stambha. Behind this column is a small depression which encircles the pillar. It is said that Lord Chaitanya’s tears would often fill this depression. An impression of his hand is also found on the pillar. It is believed that the potency of a devotee’s prayers to the Lord is doubled if he or she stands near this sacred pillar.

Jagannath Temple Puri

The land of Lord Jagannath, meaning ‘Lord of Universe’, is one of the most sacred pilgrimage spots in India. One of the four divine abodes lying on four directions of the compass; The Jagannath temple in Puri was built approximately 12th Century AD by King Chodaganga of the Eastern Ganga dynasty. The completion was later brought about by his descendant, Anangabhima Deva, during the 12th century. One of the most revered of all temples of Lord Vishnu in eastern India, the Jagannath Temple was built in the classical temple building phase. Protected by two surrounding walls, the conical tower of the temple is 58 mts high on which the flag and the wheel of Lord Vishnu can be seen. Dedicated to Krishna, Balabhadra and Subhadra, the temple has these three as principal deities. Similar to the Lingaraja temple in Bhubaneshwar, this temple is also close for Non-Hindus who contend themselves by just viewing it from outside its precincts. Mahaprasada Maha-prasada is pure vegetarian spiritual food offered to Lord Jagannath. Just by eating this mahaprasada one makes great spiritual advancement. Everyday, 56 varieties of prasada are offered to Lord Jagannath. The preparations are made traditionally and no onion, garlic, chillies or many varieties of vegetables (considered alien) are not used. These offerings, after being made to Lord Jagannath, are then offered to Goddess Bimala Devi in the temple precincts which then becomes Mahaprasadam. This Mahaprasadam is considered very efficacious for spiritual liberation. One should respectfully honor the Mahaprasadam sitting on the floor. This Mahaprasadam is available daily after 3-5 pm. This is sold outside the sanctorum area but within the temple premises. The Mahaprasadam remains hot for a long time as it is kept in the same earthen pots which are used to cook it. Normally, mahaprasadam means a few small pots of vegetables, dhal, and a pot of rice ten times the size of the small pots. Architecture of Jagannath Temple The architecture of the temple follows the pattern of many Orissan temples of the classical period. The main shikhara, or tower, rises above the inner sanctum where the deities reside. Subsidiary shikharas rise above ante-halls. The temple complex is surrounded by a wall, on each side of which is a gopura or gate, over which rises a pyramid-shaped roof. Being the largest temple in the state, it has a complex covering several square blocks with dozens of structures including a mammoth kitchen. The main temple structure of this architectural and cultural wonder is 65m (214 feet) high and is built on elevated ground, making it look more imposing. Comprising an area of 10.7 acres, the temple complex is enclosed by two rectangular walls. The outer enclosure is called Meghanada Prachira, 200m (665 ft) by 192m (640 ft). The inner wall is called Kurmabedha, 126m (420 ft) by 95m (315 ft). There are thirty-six traditional communities (Chatisha Niyaga) who render a specific hereditary service to the deities. The temple has as many as 6,000 priests. There is a wheel on top of the Jagannath Temple made of an alloy of eight metals (asta-dhatu). It is called the Nila Chakra (Blue Wheel), and is 3.5m (11 ft 8 in) high with a circumference of about 11m (36 ft). Every day, a different flag is tied to a mast attached to the Nila Chakra. Every Ekadasi, a lamp is lit on top of the temple near the wheel. There are four gates: the eastern Singhadwara (Lion Gate), the southern Ashwadwara (Horse Gate), the western Vyaghradwara (Tiger Gate), and the northern Hastidwara (Elephant Gate). There is a carving of each form by the entrance of each gate. The Lion Gate, which is the main gate, is located on Grand Road. Thirty different smaller temples surround the main temple. The Narasimha Temple, adjacent to the western side of the Mukti-mandapa, is said to have been constructed before this temple even. Legend of Jagannath Temple According to the legend, Indrayumna, the king of Malava in Sata Yuga, was a great devotee of Vishnu. Once the king dreamt of Nilamadhava Vishnu and was curious to know where that particular form of the Lord was worshipped. Therefore, he sent his emissaries in four directions to find this. Brahmin Vidyapati was sent to the east. He came to Utkala and entered Savara village where he took shelter in the house of the Savara King Visvavasu. Lalita, king’s daughter, fell in love with Vidyapati and the latter got married to her to extract information about Nilamadhava. Visvavasu used to go to the forest every morning to worship Nilamadhava installed in Niakandara (Blue cave). Vidyapati thus coaxed his wife to request her father to allow him to see Nilamadhava. Visvavasu agreed on the condition that Vidyapati will be taken to the shrine and brought back from there with a blindfold. On hearing this, Vidyapati went to his wife and asked her to make such an arrangement that he may subsequently know the path. Lalita gave him some sesame seeds to be scattered on the side of the road he followed so that he might know the path when sesame plants grew up during the rains. Accordingly, Vidyapati was taken to Nilakandara where he saw Nilamadhava. Later, when Vasu Savara offered food to the deity, he did not take it as usual to the king’s dismay. At this, a divine voice was heard. It said, “we would no longer continue to be worshipped by you. Oh! Vasu, we will change the present Nilamadhava form and assume Daru form. We shall be worshipped in the temple by Raja Indradyumna”. The king came back from the blue cave with a very heavy heart losing his deity. Vidyapati too bade farewell to his wife and father-in-law and started for Malava. Having heard the story, King Indradyumna started with his retinue for Utkal to see Nilamadhava. On reaching Nilakandara, he found it vacant. But a voice from the air told him to construct a temple on Nilasaila (Blue Mountain). Hearing this, the king ordered the construction to begin. On completion of the temple, the king went to Brahmaloka to invite Brahma to consecrate the temple. But, Brahma being in meditation, he had to wait for nine Yugas. The temple thus got buried in sand in his absence. In the mean time, a new dynasty came to rule at Utkala. Galamadhva, a king of that dynasty, detected the buried temple. He was considering installing images in the temple when Indradyumna with Lord Brahma appeared before him. Both the kings had a tussle over the ownership of the temple. However, Lord Brahma decided in favor of Indradyumna and asked him to install deities in the temple. Now, the king was at a loss as to where to find the deities from. Therefore, god told him in his dream that he would be floating in the sea in the form of a log of wood. Then Sage Narada assured Indradyumna that Vishnu would appear to him in the temple form of three wooden images. When a big tree, radiant with light was seen floating in the sea, Narada told the king to make three idols out of it and place them in a pavilion. Indradyumna got Visvakarma, the architect of Gods, to build a magnificent temple to house the idols and Vishnu himself appeared in the guise of a carpenter to make the idols on condition that he was to be left undisturbed until he finished the work. But just after two weeks, the Queen became very anxious. She took the carpenter to be dead as no sound came from the temple. Therefore, she requested the king to open the door. Thus, they went to see Vishnu at work at which the latter abandoned his work leaving the idols unfinished. But a divine voice told Indradyumana to install them in the temple. The three idols represent the god Jagannath, his elder brother, Balabhadra and their sister, Subhadra. The wooden idols being worshipped are renewed during special occasions. This wooden idol prepared from a log of wood floating on the ocean finds a mention in the Rig Veda, where it is referred to as Purushottama.