History
A considerable literature exists around Durga in the Bengali
language and its early forms, including Durgotsavnirnaya (11th
century), Durgabhaktitarangini by Vidyapati (14th century), etc. Durga
Puja was popular in Bengal in the medieval period, and records exist
of it being held in the courts of Rajshahi (16th century) and Nadia
(18th century). It was during the 18th century, however, that the
worship of Durga became popular among the landed elite of Bengal,
zamindars. Prominent Pujas were conducted by the landed zamindars and
jagirdars, enriched by British rule, including Raja Nabakrishna Deb,
of Shobhabajar, who initiated an elaborate Puja at his residence. Many
of these old pujas exist to this day. Today, the culture of Durga Puja
has shifted from the princely houses to Sarbojanin (literally,
"involving all") forms.
Durga puja mood starts off with the Mahishasuramardini' a radio
program that has been popular with the community since the 1950s.
While earlier it used to be conducted live, later a recorded version
began to be broadcast. Bengalis traditionally wake up at 4 in the
morning on Mahalaya day to listen to the enchanting voice of of the
late Birendra Kishore Bhadra and the late Pankaj Kumar Mullick on All
India Radio. as they recite hymns from the scriptures 'Devi Mahatmyam
During the week of Durga Puja, in the entire state of West Bengal
as well as in large enclaves of Bengalis everywhere, life comes to a
complete standstill. In play grounds, traffic circles, ponds --
wherever space may be available -- elaborates structures called
pandals 'are set up, many with nearly a year's worth of planning
behind them. The word pandal means a temporary structure, made of
bamboo and cloth, which is used as a temporary temple for the purpose
of the puja. While some of the pandals are simple structures, others
are often elaborate works of art with themes that rely heavily on
history, current affairs and sometimes pure imagination.'
Somewhere inside these complex edifices is a stage on which Durga
reigns, standing on her lion mount, wielding ten weapons in her ten
hands. This is the religious center of the festivities, and the crowds
gather to offer flower worship or pushpanjali on the mornings, of the
sixth to ninth days of the waxing moon fortnight known as evi Pakshya
(lit. Devi = goddess; Pakshya = period; Devi Pakshya meaning the
period of the goddess). Ritual drummers dhaakis, carrying large
leather-strung dhaakis show off their skills during ritual
dance worships called aarati. On the tenth day, Durga the mother
returns to her husband, Shiva, ritualised through her immersion into
the waters Bishorjon also known as Bhaashan and Niranjan
Today's Puja, however, goes far beyond religion. In fact, visiting
the pandals recent years, one can only say that Durgapuja the largest
outdoor art festival on earth. In the 1990s, a preponderance of
architectural models came up on the pandal exteriors, but today the
art motif extends to elaborate interiors, executed by trained artists,
with consistent stylistic elements, carefully executed and bearing the
name of the artist.
The sculpture of the idol itself has evolved. The worship always
depicts Durga with her four children, and occasionally two attendant
deities and some banana-tree figures. In the olden days, all five
idols would be depicted in a single frame, traditionally called pata.
Since the 1980s however, the trend is to depict each idol separately.
At the end of six days, the idol is taken for immersion in a
procession amid loud chants of 'Durga mai-ki jai' (glory be to Mother
Durga') and 'aashchhe bochhor abar hobe' ('it will happen again next
year') and drumbeats to the river or other water body, and it is cast
in the waters symbolic of the departure of the deity to her home with
her husband in the Himalayas. After this, in a tradition called Vijaya
Dashami, families visit each other and sweetmeats are offered to
visitors (Dashami is literally "tenth day" and Vijay is
"victory").
Durga pandal in New Delhi.Durga Puja is also a festivity of Good
(Ma Durga) winning over the evil (Maheshasoora the demon). It is a
worship of power of Good which always wins over the bad.
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