Chariots Festival – Ratha Jatra sandalwood festival
The development of the chariots begins on Akshaya Trutiya, the third day of the splendid fortnight of Vaisakha, with custom fire adore. This happens before the castle of the King of Puri and inverse the primary office of the Puri sanctuary. On this day, the new agrarian season starts and ranchers begin furrowing their fields. This day additionally denotes the start of the late spring celebration of the divinities, otherwise called the sandalwood celebration or Chandan Jatra, which goes on for three weeks.
In this celebration, the agent pictures of the managing divinities are taken out in beautiful parades and given a stately vessel ride in the Narendra tank ordinary. In an intriguing show of the assimilative character of the Jagannatha faction, Madanmohana and Rama Krishna, speaking to Jagannatha and Balabhadra participate in the celebration with the delegates’ pictures of the managing divinities of five fundamental Shiva sanctuaries of Puri. These are inquisitively known as Pancha Pandava, the five siblings of the Mahabharata story. Later the gods have a custom shower in a little sanctuary in the tank, in stone tubs loaded up with water, sandalwood glue, fragrances and blossoms.
This sandalwood celebration finishes in the Snana Jatra, the Bathing Festival on the full moon day of the long stretch of Jestha. On this day, the managing gods slide from their seats on a raised stage in the sanctum sanctorum, the bejeweled seat. They are washed in 108 pots of water brought from the suna kua, the brilliant well and expect the elephant structure on the exceptional washing stage, near the Eastern limit mass of the sanctuary. From that day the divinities stay in emblematic and custom healing for around fourteen days. They are banned from perspective on the normal lovers.
Just three unique patta chitras, conventional Orissan canvases of characteristic hues on fabric hardened with starch, known as Anasara Pattis, are hung on a bamboo screen concealing the gods from general visibility, can be seen by people in general. During this period, the divinities are given just roots, leaves, berries and organic products to fix them from their indisposition. This custom is a token of the solid innate components in the beginning and advancement of the Jagannatha religion. The descendants of Lalita, little girl of the first inborn admirer Biswabasu, chieftain of trackers, and the Brahmin minister Vidyapati, are known as daitapatis or daitas. They have practically selective benefit of serving the Lord during the strengthening and through the whole time of Ratha Jatra or the Festival of Chariots.
Nava Jaubana – the Renewal of Youth
The day promptly going before the stylized venturing out of the sanctuary areas by the divinities denotes the conventional completion of the time of disorder. The gods are given a new layer of paint lastly, according to the customs for planning of perfect symbols, the eyes are painted in a custom called netrostava. The divinities are presently completely recouped, and their return for open survey is known as the Nava Jaubana Darshana, a festival of the reestablishment of youth. A huge number of enthusiasts denied of seeing their dearest dull sweetheart crowd the sanctuary to take an interest in this celebration, which regularly starts toward the evening and keeps going late into the night.
The Festival and The Journey
Finally the delegated day for the incomparable Festival of chariots shows up. It is Asadha Shukla Dwitiya, the second day in the splendid fortnight of the primary rainstorm month of the Indian occasional schedule. It is commonly in late June in ordinary years however at regular intervals, after alteration of the sunlight based and lunar schedules, with a twofold Baisakha, this happens in July. The directing divinities of the sanctuary Lord Jagannatha, Lord Balabhadra and Goddess Subhadra, in an exceptional inversion of jobs of the searcher and the looked for, set out from inside the sanctum of the sanctuary to blend with a great many their aficionados
Pahandi, Stepping out of the sanctuary areas
The excursion of the gods to the world outside, begins with an intricate regal custom called Pahandi – truly, going ahead in a bit by bit development to the backup of a few lovers beating the ghanta, kahali and telingi baja.
The ghanta is a kind of a gong, molded like a flattish empty bowl, and is made of kamsa, chime metal, a composite of metal and zinc. A little twirly doo like stick made of a hard yet adaptable bit of stick is utilized to beat the straightforward instrument. The ghanta is made by conventional craftsman gatherings – kansaris, who live in towns not a long way from Puri. Kahali is a kind of trumpet while the telingi baja is a basic drum, a percussion instrument played on the two sides with sticks.
The acclaimed holy person artist Salabega has deified the sentiments of the aficionados as they stand by consistently for satisfaction of their longing to see their dear dim sweetheart, Kalia Dhana situated on his brilliant Chariot – Nandi Ghosa. Salabega had gone on journey and had fallen wiped out. He was unable to return so as to see his dear Lord on the chariots and shouted out in anguish from 750 miles away. He implored the Lord to dawdle some time on the bada danda, the Grand Avenue till he could reach back to see the Lord. The sympathetic Lord remained on his chariot which couldn’t be pushed an inch ahead till Salabega arrived at Puri and joined the fans in supplication.
As Lord Jagannatha and Lord Balabhadra are very substantial, a wooden cross is fixed to their backs and thick luxurious ropes are tied round their heads and abdomens for their stately parade – a custom known as Senapata lagi. The gods during the anasara period are really positioned in the crowd lobby – Jagamohana and not in the sanctum – or deul on the raised stage, their ordinary seat. From that point the divinities are moved first on to the sata pahacha or seven stages, outside the northern entryway of the natamandapa or the moving lobby.
During the outward development from the sanctuary to the chariots, the parade of the divinities is in succession and is known as dhadi pahandi or a gathering development. All the gods move at the same time. From the outset Sudarshana, the heavenly wheel of Krishna-Vishnu, is brought out and set in the chariot of Subhadra followed by Balabhadra, Subhadra lastly Jagannatha.
The blowing of kahali, the crash of the ghanta, and the beating of the telingi baja in a special musical development gradually ascending to a crescendo envoy the start of their development.
The two siblings, Balabhadra and Jagannatha are adorned with enormous, expand botanical enrichments called tahia. These resemble gigantic crowns or headband however are fixed at the rear of their heads. These are made of an assortment of white, orange and lotus blossoms, leaves and bits of plug fixed to a semi – roundabout heart formed bamboo outline. The two siblings adorned with the tahias are conveyed forward in a moderate, influencing development, giving the figment of a gigantic elephant smoothly and tenderly venturing out.
The benefit of furnishing these tahias is with the Raghavadasa matha-a religious community related with the sanctuary. Hundreds and thousands of lovers energetically anticipate a brief look at the gods. As the divinities step out of the fundamental passage of the sanctuary, the Sinhadwara – Lion’s Gate, the overflowing aficionados, bhaktas go wild with bliss, reciting the name of the Lord in a boisterous chorale. The serenade Haribol – truly intends to absolute the name of Hari, the Lord.
First comes Sudarshana who has its spot on the chariot of Subhadra. He is trailed by Lord Balabhadra. A lot littler, Subhadra, the yellow-brilliant shaded more youthful sister of Jagannatha and Balabhadra, follows before long. Short and thin, as opposed to her two siblings and a lot lighter, the woman is carried on the shoulders in a recumbent state. Her development is a lot quicker and the daitas helping her practically race through the procedure in a running development.
Finally comes Lord Jagannatha, dear of the lovers, in a magnificent parade. Artists perform customary Odissi move to the backup of mardala and mridanga, conventional Orissan percussion instruments, as the parade pushes ahead. Enthusiasts additionally perform sankirtan, custom gathering reciting of the names of Lords with musical hopping developments.
Chhera Pahanra – Emperor as Sweeper of the Chariots
The second period of the celebration is a similarly brilliant and expound custom is known as Chhera Pahanra. The Raja, King of Puri, Gajapati Divya Singha Deva is educated regarding the gods having taken their places on the chariots through an emissary uniquely deputed by the sanctuary authorities. The youthful, attractive King, clad in perfect white, conveyed in a silver plated cart departs his royal residence and arrives in a little parade on the fabulous road drove by a caparisoned elephant. He climbs the chariots individually. He first offers his petitions to the god situated on the chariot. He at that point cleans the stages with a brilliant brush, sprinkling blossoms and fragrant water on the outside of the chariot.
The custom returns a few hundred years and is an image of the enslavement of the fleeting to the profound. The sovereigns of Orissa, starting with the valiant Anantvarman Chodagangadeva in the twelfth century, had announced themselves to be the rauta, worker of Lord Jagannatha and managed the land as His agent. The custom is additionally an open show of the extraordinary way of thinking of joining and solidarity represented by Lord Jagannatha. There is no differentiation of station, doctrine or some other boundary during the whole celebrations. In the wake of purifying of the chariots by the Raja and his takeoff to the royal residence, the wooden ponies, earthy colored, high contrast, are fixed to the three chariots. Thick ropes made of coconut fiber and 250 feet in length are attached to the individual chariots.
The Pulling of Chariots – Jagannath rath yatra
The last custom in the festival is the pulling of the chariots. Finally the excellent second and the peak of the day’s festival is arrived at when the chariot of Lord Jagannatha, Nandighosha begins its awesome excursion to the Gundicha sanctuary. A huge number of fans who calmly hang tight the entire day for this favored second are euphoric with satisfaction and pull the chariots with a feeling of satisfaction.
In old occasions, the Ratha Yatra of Puri utilized six chariots when contrasted with the three at present occasions. A waterway once streamed between the Gundicha House and the Jagannatha sanctuary. Three chariots remained in availability on the opposite side of the stream to get the gods from the three chariots that shipped them from the fundamental sanctuary.