Legends of Jagannatha

 

Legends of Jagannatha

(2 min read)

God following Devotees

The relationship between God and the devotees, especially that between Jagannatha and His bhaktas, is no one-way traffic.

Kabir sang of total surrender to God, and found solace in following God wherever He led him. He became Mutia, a pet dog on a leash held by the Supreme One. Kabira kutta Ram ka, mutia mera naam….

Salabega, the 17th century devotee and Odia bhakta-kavi visualised Jagannatha following His devotee as lovingly as a calf follows its mother. God following the devotee, in a reversal of roles.

Jagannatha’s Compassion

Of the many legends of Jagannatha, the following two relating to Rathayatra illustrate His infinite compassion.

Salabega

Salabega was born to a Muslim father and a brahmin mother. Though raised a Muslim, he was an ardent devotee of Jagannatha and Sri Krishna and composed several bhajans and jananas which are popular even today. However, he could not enter the Srimandira owing to his religion, and had to await darshan of his favourite God during Rathayatra.

There is a legend related to one of his poems. Salabega had gone on a pilgrimage, and had timed his return to Puri for Ratha Yatra, but got delayed owing to sickness. He offered a fervent prayer and petitioned Jagannatha:

Jagabandhu, he Gosain!* 

Tumbha sricharana binu anya gati nahin .....

Moha jiba jaen Nandighoshe thiba rahi.

O, Friend of the World!

O, Lord and Master!

There is no salvation

Except upon surrender at your auspicious feet, .....

Please stay put on Nandighosha,

Till I reach You.

The gracious Lord granted his prayer, the ratha did not budge despite the effort by thousands of devotees pulling the thick ropes. Only after Salabega’s arrival and darshan of Jagannatha did the ratha move forward on its journey.

On Bada Danda (Grand Avenue) near Balagandi, Salabega’s mazar is at the spot where he is believed to have sighted Jagannatha and offered his prayers. During Rathayatra, out of affection for His devotee, Jagannatha’s Nandighosha makes a brief halt here. An amazing gesture of the Compassionate Lord for his Muslim devotee!



Balaram Das

There is another legend associated with Ratha Yatra. Balaram Das was one of the Pancha Sakhas, the five pre-eminent sant-kavis of the 16th century; and the only non-brahmin of the five. He authored Jagamohan Ramayana, and the hugely popular Lakshmi Purana which is still read in every Odia home. He also wrote many beautiful bhajans for Lord Jagannatha.

Once, he was prevented from mounting the Lord’s ratha since he had come unwashed after spending the night with a woman of ill repute. Deeply hurt, Balaram Das withdrew to the sea-shore, made a ratha of sand and worshipped Jagannatha all alone.

Nandighosha got stuck and could not be pulled forward despite all effort. Jagannatha appeared in the dream of the King of Puri, and told him the reason why the ratha was stuck. Next morning, the king and the pandas went to the seashore, and invited Balaram Das to join the ratha yatra. As soon as the dear devotee touched the ratha’s rope, it began moving effortlessly.

Jagannatha is not juggernaut; He is Krupasindhu, the Ocean of Mercy!


12-feet tall Sand Sculpture on this legend by Sudarsan Pattanaik who won the Golden Sand Master award at International Sand Sculpture Festival, July 4 - 12, 2024 at St. Petersburg, Russia. 


***

 * Link for a beautiful rendition of this Odia Bhajan by Bhikari Bala: https://youtu.be/fC4WuQbMuR0


Gods in Quarantine

 

Gods in Quarantine

Deities in Distress

The presiding deities of Srimandira, Puri are currently unwell and in quarantine. On Jyestha Purnima (4th June, 2023), they enjoyed such a lavish bath that they got fever which will take two weeks to abate. Snana Yatra is an annual festival, and the anabasara confinement and recuperation of the deities are part of an elaborate, time-honoured ritual.

Humans seek medical help for simple ailments, and divine cure for incurable diseases; but in a curious role-reversal the ailing deities of Srimandira need human care for their treatment and convalescence. Possibly, they are the only gods who get fever, and are quarantined for two weeks of medication, restricted diet, compulsory rest, and recuperation.

During this period, they also get a paint job, and are readied for the Naba Joubana Besha (new, youthful attire and visage) and Netrotsava (painting the eyeballs, signalling the new look) as preparatory for Ratha Yatra, the most important of more than a hundred annual festivals in the calendar of Srimandira.

Why do the deities fall ill?

No one knows for sure, but many reasons are suggested.  

Under the scorching sun at the height of summer, they bath in chilled water, and hence contract fever. On Jyestha Purnima, Jagannatha, Balabhadra, Subhadra, and Sudarshana are taken out of the Garbha gruha (sanctum sanctorum), placed on the Snana Mandapa, the bathing platform, and bathed with 108 pots of water drawn from the Suna Kua, the golden well.

Humanised Gods

These gods are so human that every day they  wake up to soft music, brush their teeth with a traditional twig, use a golden tongue-scaler, take a daily bath, look at their own visage reflected from a kansa (bronze) metal mirror, have breakfast and several meals thereafter, enjoy siesta, listen to music, retire to bed, participate in various festivals, change dress several times during a day and don beshas for special occasions, go for boating, fall ill, and die once in about 12 years.

When they fall ill, they are given herbal medication, and a special diet plan. No loud bhajans, only soft tunes are hummed by the Daitapatis, Jagannatha’s kinsmen. Availing annual sick leave of two weeks, they are not required to give darshan to the devotees since morning till late evening (how tiring that must be, entertaining millions of petitions, round the year for about 350 days!), the gods rest and recuperate.

Why only four gods fall ill?

The seven deities (saptadha murti) placed on the Ratna Simhasana in the Garbha Gruha are the principal deities of Srimandira. However, only four of them – Jagannatha, Balabhadra, Subhadra, and Sudarshana are taken to the Snana Mandapa, and 108 pots of fragrant water are poured on the first three; no pot for Sudarshana possibly because he is Vishnu’s weapon, and hence a secondary deity.

Why do only these four deities fall ill, and the remaining deities on Ratna Simhasana – Bhudevi, Sridevi, and Nilamadhava; and the numerous deities of Srimandira – Lakshmi, Vimala, Mukta Nrusingha, Kashi Vishwanath, Ishaneshwar Mahadev, Ganesha, Garuda, and others – do not fall ill?

Is it because only these four deities are made of wood, and the idols having been exposed for a year to saline humid air, incense smoke, and moisture from flowers and food offerings, need an annual inspection for maintenance and repair, and a paint job?

Annual Leave

Further, the thousands of servitors need annual earned leave to mind their domestic responsibilities. Since Akshaya Tritiya, the devotees – most of them farmers in the rural hinterland - get busy ploughing and preparing their lands for the monsoon paddy crop. Thus, lean season for all stakeholders.

De-Sanskritization: Return to Roots

Scholars suggest a deeper motif. Beginning with Snana Purnima till the conclusion of Ratha Yatra, a period of about a month, the custody and management of the affairs of Jagannatha pass from the brahmin priests to the Daitapatis, the progeny of Vidyapati (brother of King Indradyumna’s rajpurohit) and Lalita (daughter of Vishwavasu, the Sabara chieftain and the original custodian and worshipper of Nilamadhava).

It is believed that Jagannatha was originally worshipped by the aboriginal sabaras, appropriated by the Hindus and Sanskritized as Vishnu. But by tradition, the temple affairs are managed by three categories of servitors many of whom are tribals, some have mixed parentage - the progeny of Vidyapati and Lalita, and others are brahmin priests.

The Hindus appropriated their god, but the sabaras did not surrender their claim on Jagannatha, their kinsman, and hence the negotiated arrangement of dual and participative management. A wonderful example of accommodation between two different cultures that decided to peacefully co-exist and collaborate.

Detox and Diet-plan

On a lighter vein, the two-week confinement is an annual detox regimen with a diet plan (only fruits and pana -traditional drink appropriate for patients), medicines (only herbal), and total rest (no work). Much needed since they savour daily chappan bhog - 56 delicacies, and have little opportunity for exercise!

The madhyanha dhupa served at 1.00 PM is an elaborate meal. “In 1910, this mid-day meal consisted of 435 dishes. A feast for divinity!” (indianculture.gov.in)

Anabasara or Anasara?

Though commonly named anasara, this word has no meaning in Odia, unless it is a proper name given to this ritual in the past for reasons that are not known. Prana Krushna Acharya in his Odia book ‘Shri Jagannatha Mahatmya O Itihasa’ suggests that the correct name is anabasara, a conjunction of ana and abasara, meaning a ritualistic service of the deities without any break. The deities are ill, and need looking after round the clock including at night. Who attends the sick in such situations? Only members of the family, and the Daitas claim they are family to Jagannatha. That is why they perform the funeral rites when the deities die prior to nabakalebara festival, and the birth ceremony when the brahma padartha, the core holy substance or element, is transferred from the old idols to the new ones at the dead of night with the chosen daitas blindfolded and their hands wrapped in silken cloth so that they may not see or even directly touch and feel the enigmatic brahma.

On Snana Purnima, the deities are dressed in Hati or Gajanana Besha. Image Source: Wikicommons.

Pati Dion

The Anabasara area is screened off with bamboo mats, and traditional Orissan pattachitra paintings of the deities on starched cloth, called pati dion (literally, gods on mats) are hung on the bamboo mats, and these gods are offered token service daily.  

Significantly, the three principal pati dions are all four-armed (chaturbhuja), and named Narayana, Vasudeva, and Bhubaneshwari. I am not sure if Sudarshana is also portrayed as a four-armed god and worshipped as pati dion.

Get Well Soon

You will be delighted to know that the ailing deities are doing very well, and will soon be discharged from the quarantine; on 19th June they will grant Naba Joubana Darshana to devotees, and will participate in Netrotsava; on 20th June they will ride their respective rathas to Gundicha mandira, the premises where they were born.

***

 

 

 

 

 

कबीरा गाया बाज़ार में

 

कबीरा गाया बाज़ार में

Today, I received a WhatsApp video forwarded by Bhabani Dixit, a friend. He had read my recent blog on Kabir, and thought the video may be of interest to me. I seldom play the many videos I receive but made an exception today. I am glad I did.

An amazing video. Ashwini Bhide Deshpande, a famed classical singer of the Jaipur-Atrauli Khayal Gayiki gharana, singing somewhere (possibly on a street near a railway station in Mumbai) a Kabir bhajan impromptu, mesmerised by the tune played on a simple, hand-crafted sarangi by a street-side musician.

The video is shot from a smartphone by a person accompanying the singer, it seems. Lalchand is sitting on the pavement with Kavita, his wife to his left and their little son, Bheem at the back. Lalchand does not know Ashwini Bhide Deshpande. He has never gone to any musical concert. He may be a migrant from the rural hinterland playing his humble instrument to earn a living, hoping that passers-by may drop a note or a coin.

When the singer begins singing in her amazingly rich voice, picking up a Kabir bhajan which fits perfectly to the tune Lalchand is playing, the street-musician is perplexed. Why is a distinguished lady and a gifted singer singing to his modest tune, and why is a video being shot? He is stunned for a moment, but the gentle singer brings out a smile of recognition, a camaraderie between a musician and a singer. She asks, ‘Are you playing jhini jhini?’ and Lalchand nods, and she proceeds to sing further:

चदरिया झीनी रे झीनी,

राम नाम रस भीनी,

चदरिया झीनी रे झीनी ।

He syncs his music to the singer’s voice and rhythm. How would he know that the gifted singer was trained in classical Indian music, had cut many music albums, and had held concerts across the globe? Or, that she has a Doctorate in Microbiology, and quit her job at Bhabha Atomic Research Centre to pursue her passion for music.


Lalchand, Kavita, and Bheem

I have not checked the authenticity of the video. In my view, there is no need to. It is not a promo for the singer, for she is not even in the frame. Nor is it for Lalchand for even his location is not mentioned.

But who heard whom in this video?

कबीरा गाया बाज़ार में  ..

The voice of the 15th century poet transcended the limitations of time and space and reached a new audience through the golden voice of the singer and the wonderful music by the street-side musician.

If that is not divine, what is?

***

1. A link to Dr. Ashwini Bhide Deshpande's soulful rendition of 'Ajapa Jaap Japo Bhai Sadho': https://youtu.be/TesKj1FR8kE

2. A friend sent his feedback, 'I believe this is not her. Somebody who knows her well apparently contacted her and she denied it was her. FYI.' My reply to my friend: Thanks, but that doesn't diminish Kabir or the anonymous singer or the humble musician!

3. A few other readers mentioned that the video had been circulated a few years earlier, but some of them enjoyed the video better after reading my blog, and I am thankful to them. One reader mentioned that the video was shot at Jaipur.

4. There are sites and portals which claim to fact-check upon request, and even share their WhatsApp numbers; but I'm not sure if these are Trojan horses to invade my contacts list, so I haven't tried!

***


 

Thus Spoke Kabir

 

Thus Spoke Kabir

कहे कबीर सुनो भाई साधो

Kabir composed no epic; only dohe, sakhi, and pada. To feed the family, his body toiled at a loom in the dingy quarters of a narrow by lane of Kashi’s poorest area; but his spirit soared high above; he drank from the waters of Assi Ghat, and took in the soul-nourishing fragrance of the choicest flowers of diverse religions and faiths that invigorated the air of the ancient religious city. Kashi was teeming with wise men, mendicants, sants and sufis; and a lesser man would not have dared to share his wisdom, but Kabir had a voice that boomed with the conviction of truth, could not be stifled, and still rings loud centuries after he is gone.

If you are a Kabir fan like this blogger, you may have enjoyed Kabir’s dohe and vani by many excellent singers, and may have noted that some of these songs on You Tube have clocked millions of ‘views.’ Why are these songs so popular – the excellence of the singer, the beauty of the poetry, or the deep philosophical musings of Kabir, the Sant-Kavi? Kabir’s thoughts resonate even today because of his poetic genius of presenting the essence of religion and life with utter simplicity and brevity.

Kabir: An Enigma

Kabir is a much-loved devotional poet, but his life is shrouded in mystery. Was he a Hindu or a Muslim? Did he preach a different faith or initiate a new sect? He is eloquent about his religiosity, but silent about his religion.  

His compositions – dohe, sakhis, and songs – tell much about his thoughts and beliefs. The first compilation of Kabir’s songs was made by his disciple Dharam Das in 1463, during Kabir’s lifetime. Kabir’s hymns – 240 dohe and 227 padas - were included in the Guru Granth Sahib.

Kabir: A Heretic?

Was Kabir a heretic? Well, his dohe and songs, have a lot that greatly annoyed both Hindus and Muslims of his time, and Kabir suffered persecution including calumny and physical violence from both.

He laughed at the Hindus for their idol-worship:

लोगा ऐसे बावरे , पाहन पूजन जायँ

घर की चकिया काहे न पूजै जेहि का पीसा खायँ

People (Hindus) are so stupid that they worship stone idols. Why not worship the grinding stone at home which feeds them, he asked?

He was equally critical of the rituals of Muslims:

मुल्ला होकर बांग जो देवे

क्या तेरा साहब  बहरा है

*किडी के पग नेवर बाजे

सो भी साहब सुनता है

O Mulla, why do you scream like an over-zealous cock in the morning, is your god deaf? Don’t you know that God listens even to the faintest, subtle jingle from an insect’s anklets?

Someone later changed kidi (insect or worm) to chinti (ant)!

Kabir’s Ram is not Ramayana’s hero, the son of Dasharath; but nirgun, nirakar in sync with the Upanishadic concept of the Supreme Being. Kabir is neither a jogi (a follower of Gorakhnath), nor a Hindu, nor a Muslim; his God is in everyone.

जोगी गोरख गोरख करई , हिन्दू राम-नाम उच्चरई  

मुसलमान कहे एक खुदाई ,

कबीरा को स्वामी घट -घट रह्यो समाई

 

सोई पीर है  जो जाने पर पीर

As per a legend, Muslim clerics complained to Badshah Sikandar Lodi about Kabir’s heretical claim to miraculous powers, and recommended the death penalty for him. When Kabir was presented in chains before the Badshah, Kabir stood in silence. The Kazi shouted at him, ‘Kaafir, why haven’t you bowed to the Badshah?’ Kabir, cool and composed, replied with the following doha:

कबिरा सोई पीर है जो जाने पर पीर

जो पर पीर न जानई सो काफ़िर बेपीर

One who feels the pain and sorrow of others is a true Pir (saint), one who doesn’t is no Pir but a kaafir (heretic).

Gandhi’s favourite hymn Vaishnava jana toh tene kahiye je pir parai jane re borrows the phrase from Kabir’s doha.

Kabir was hated even more because he was an unlettered, low-caste, poor weaver. How dare he make fun of the time-honoured religious practices of Hindus and Muslims and preach new truths? Only after his death, and owing to his immense popularity with the masses, both religions staked claim to appropriate his legacy with Hindus regarding him as a Vaishnava Sant Kavi, and the Muslims hailing him as a Sufi Pir.

Dispute after Death

Death at Kashi ensures moksha (liberation), and that at Maghar takes you to hell, believed the Hindus. Being the iconoclast that he was, Kabir travelled from Kashi to die at Maghar. That was his last laugh at the silliness of such superstitions.

As per a legend, when Kabir died, both Hindus and Musims fought for his body which miraculously vanished and under the shroud was found only flowers which the disputants divided equally, with the Hindus cremating it at Kashi and making a samadhi, and the Muslims burying it at Maghar where Kabir’s mausoleum is still present.

Famous Dohe and Padas

A selection from his most popular dohe and padas is given below:

On Guru’s Importance

गुरु गोविन्द दोऊ खड़े, काके लागूं पांय

बलिहारी गुरु आपने गोविन्द दियो बताय ।।

A graphic image – both Govind (not Krishna, but Kabir’s nirgun, nirakar God), and Guru are before the devotee, whose feet should he touch first? A difficult choice. Kabir suggests, it’s better to first bow before one’s Guru, for he is the one who has led the disciple to find God.

Essential Oneness of Hinduism and Islam

काबा फिर कासी भया, राम भया रे रहीम

मोट चून मैदा भया, बैठि कबीरा जीम ।।

Once you realise, O Kabir, that there is no distinction between Kaaba and Kashi, or Ram and Rahim; the coarse atta of gross reality transforms to delectable fine maida of divinity.

On Total Surrender to God

कबीर’ कूता राम का, मुतिया मेरा नाउँ

गले राम की जेवड़ी, जित खैंवे तित जाउँ ।।

Kabir is Ram’s dog. My name is Mutiya, on my neck is Ram’s belt, and I go wherever he pulls me.

Divine Spark: Fire in the Wood

साहिब तेरी साहिबी, सब घट रही समाय

ज्यों मेंहदी के पात में, लाली लखी न जाय ।।

Just as red colour is contained within mehendi leaves but is not visible; God is inside of everyone, but invisible.

On Impermanence/Transitoriness of Life

पानी केरा बुदबुदा, अस मानस की जात

देखत ही छिप जायेगा, ज्यों सारा परभात ।।

Human life is short-lived like water bubbles, and disappears like stars upon the arrival of morning.

On Introspection

बुरा जो देखन मैं चला, बुरा न मिलिया कोय

जो दिल खोज्यो आपना, मुझसा बुरा न कोय ।।

Why waste time and energy if finding fault with others? Look inside yourself, you’d realise the need to reform yourself before counselling others.

On Humility

दास कहावन कठिन है, मैं दासन का दास

अब तो ऐसा होय रहूं, पांव तले की घास ।।

On Fleeting Youth

कबीर गर्व न कीजिए, इस जोबन की आस ।

टेसू फूला दिवस दस, खंखर भया पलस ।।

A striking metaphor, common-place but spectacular, a Flame-of-forest tree in blossom, and thereafter.

Bhakti Movement

Kabir is a continuum in the line of Sants and Pirs who shared their distilled wisdom with the masses. He is one of the leading lights of Bhakti movement in north India; and the predecessor of the famous 16th century Bhakti poets – Guru Nanak, Tulsidas, Surdas, Dadu Dayal, Rahim Khankhana, and others. In Kabir’s poems, echoes can be heard of the Vedas, Upanishads, Buddha, Mahavir Jain, Adi Shankar, Ramanuja, Gorakhnath, Jaydev, Baba Farid, Namdev, and others.

Kabir was unlettered, but he shared his faith in simple devotion to realise the nirgun, nirakar god in crisp dohe and padas in the language and idiom of the common people. He was the saint who like a winnowing implement removed the chaff and presented the grains.

Hindi Poetry

Of the medieval Hindi poets, Kabir is the Adi Kavi. In the 15th century, it was not fashionable to write in Hindi or khari boli since Sanskrit, Persian, and Arabic were the preferred language of the Courts and the elites. But Kabir composed in the language of the people – khari boli, purbia, and unhesitatingly picked up words from Sanskrit, Urdu, Punjabi, and Marwadi.

Before Tulsidas, considered by many as the greatest Hindi poet ever, Kabir wrote in Hindi, the language of choice for the bhakti poets of the 16th century and later.

Kabir Songs and Famous Singers

Several singers have soulful renditions of Kabir’s songs – Kumar Gandharv, Prahlad Tipania, Anup Jalota, Jagjit Singh, Sabnam Virmani, Abida Parveen, and many others. The very large viewership of these You Tube songs is an indication of the enduring popularity of Kabir’s timeless songs.

Kabir’s similes and metaphors

Simple, yet striking metaphors, picked up from everyday life which the common people can instantly relate to. No erudition or study of vyakarana or scriptures is required to get Kabir’s message. Kabir could be abstruse at times, possibly by choice, when handling deepest philosophical issues; but he consciously avoids poetic artifice. He speaks from his heart and effortlessly reaches the heart of his audience.   

Some of his most memorable metaphors are:

जाति न पूछो साधु की, पूछि लीजिए ज्ञान

मोल करो तलवार की, पड़ा रहन दो म्यान ।।

न्हाये धोये क्या हुआ, जो मन का मैल न जाय

मीन सदा जल में रहे, धोये बास न जाय

चलती चक्की देख के, दिया कबीरा रोय

दुइ पट भीतर आइके, साबुत गया न कोय ।।

जब मैं था तब गुरु नहीं, अब गुरु हैं मैं नाहिं।

प्रेम गली अति सांकरी, तामें दो न समाहिं।।

Kabirpanthis

Kabir did not set up any sect, but his disciples established Kabirpanth: the Path of Kabir. His disciple Surat Gopal set up the panth at Kashi, and the other disciple Dharam Das took it to Bilaspur, now in Chhattisgarh. Kabirpanthis admit both Hindus and Muslims and have no caste bar, but they have developed elaborate rituals including diksha, wearing janeu and kanthi – something Kabir is unlikely to have approved. That is how great saints are powerless against the affection and bhakti of their chelas and bhagats. Kabirpathis are teetotalers, vegetarians, and have an elaborate manual for right living and conduct.

Kabir means ‘Great’

Kabir in Arabic means great, and is a synonym for Allah. There is a story about his naming ceremony. Kazi, to name the child, opened the Quran, and the page that opened had Kabir. Maybe, since the boy was from a poor, low-caste julaha family, the Kazi did not think of Kabir as a fit name. He closed the holy book, and opened it a second time, and then a third time, and every time, the book opened at the same page. He had no choice but to name the boy Kabir. In a way, the Kazi’s hesitation was borne out and Kabir was infamous for his heretical dohe, shabads, and vanis during his lifetime. Only long after his demise was he reckoned as a voice that spoke the truth unafraid of the consequences.

Kabir’s philosophy, bhakti, and poetry continue to appeal to the hearts not only of Kabirpanthis but of people from other faiths and persuasions. That is how Kabir has fulfilled the import of his name: Kabir is Great.

A commemorative postage stamp on Kabir issued by India Post on 1st October 1952.

***

Resources:

1.    Makers of Indian Literature: Kabir, Prabhakar Machwe, Sahitya Akademi, New Delhi, Fourth Reprint: 2014

2.    Kabir Granthavali, Ed. By Dr. Shyamsundar Das, Vani Prakashan, New Delhi, Fourth Edition: 2022.

3.    

 

To Believe or Not to Believe?

  To Believe or Not to Believe? Fake-news pandemic Do you use social media? Do you watch news and debates on TV? Do you read newspapers?...