Durga Puja: A Festival of Life

 

Introduction:

Situated in eastern India along the Hoogly waterway, Kolkata (previously known as Calcutta) is frequently alluded to as the social capital of India. With the great provincial design, rich customs, delightful music, and workmanship, this city has extraordinary people. As home to regarded craftsmen like Rabindranath Tagore and Satyajit Beam, individuals of this city have an extraordinary appreciation for writing and cinema. The city additionally gives an unmatched strict and social experience of Durga puja every year.

"Dugga "reverberation the unified voices of the multitude of women in the family as they move towards the pandals for puja, wanting a protected excursion ahead throughout everyday life. The sound of serious beats coming from the dhak blended in with the fragrance of the dhunuchi lit in each house, park, or corner that fills the roads of Kolkata. Clad in the most lovely clothing types, enhancing the heaviest of gems and thickest of bangles with sindoor and bindis on their sanctuary, the ladies appear to walk a stride in front of the men today.

All things considered, Durga puja is the day of the Devi. Only variety and party course through the paths in the nine days that Maa Durga stays in her basha (house) with her four kids, just to be joined by her significant other Shiva on the 10th day, (otherwise called Vijayadashami). In any case, does it truly end there? The gigantic greatness and style of Durga puja aren’t limited to being only a nine-day celebration. It houses itself in the hearts of the lovers who utter "Maa Dugga" at the littlest of hiccups throughout everyday life. The reverberating ullu (a shrill ululation sound made by hitting the two cheeks with the tongue accepted to be extremely promising and said to avert any malevolent) reverberations in the roads of the city long after the puja is completely wrapped up.

 Durga:

A common illustration of Khas Bangla Chali is seen here as scenery where the enhancing components are incredibly perfect and striking.

The Introduction of Devi Durga:

The legends discuss Goddess Durga as a formation of the three most impressive Devas (Divine beings) in the Hindu Pantheon - Brahma (the maker), Vishnu (the preserver), and Shiva (the destroyer). The tale of Durga's introduction to the world is described in the Devi Bhagavatam. As per this sacrosanct text, when a child called Mahishasura was brought into the world by an Asura (evil presence). Brought into the world as an Asura, he saw the triumph of Devas over Asuras in each battle. Irritated by the consistent loss of the Asuras, Mahishasura chose to play out a Tapasya (long retribution) to satisfy the Devas. Years went by.

Impressed by Mahishasura's commitment, Master Brahma chose to shelter him. Thrilled at such an open door, Mahishasura requested that Brahma favor him to such an extent that neither a man nor a Divine being could kill him. Subsequently, his passing would lie just in the possession of a lady - which to him was unthinkable. Exploiting the help, Mahishasura, alongside his group of Asuras, attacked the Earth. He plundered and killed without any potential repercussions. Before long, seething with power, he chose to assume control over paradise accepting he could be the leader of the relative multitude of three domains.

The fight between the Asuras and the Devas was fierce. Mashishasura at long last crushed the multitude of Indra in Amravati. Embarrassed, the Devas met with the theTridevas, expecting to track down an answer.

Disappointed and furious at the loss of the Devas, the Tridevas began to think. "Just a lady can kill Mahishasura," said Ruler Brahma, contemplating the shelter he had given the Asura. However, which lady in the three domains was sufficiently able to take on the fight? The Tridevas set up their brains and utilizing their powers made energy that appeared as Devi Durga. Every one of the Devas gave their weapon to the Devi to help her kill Mahishasura. Himavat, the Lord of Himalaya, gave the Devi a Lion to mount on.

At first, when Durga moved toward Amravati, Mahishasura snickered at the prospect of battling a lady. In any case, as the conflict seethed, Mahishasura understood that he was no counterpart for the preeminent powers epitomized inside the Devi. In the ten days of the fight, the Asura continued to change structures to befuddle her, yet the Devi never missed her point. When the Asura changed to his unique structure, a bison, Durga quickly guillotined him, in this manner liberating paradise and earth of the dictator. Consequently, Durga came to be known as Mahishasura Mardini (The Enemy of Mahishasura). This last scene is recreated in a large number of the icons of the Devi revered in the Durga puja. In certain icons, the position of Maa Durga while killing the Asura is like that of Shiva during Tandava.

History of The Puja:

Celebrated in the period of Ashvin (September - October), Durga puja (affectionately alluded to as Pujo) is quite possibly the most anticipated celebration in India, particularly in West Bengal. Even though the weather conditions begin becoming cooler, the air is thick with the glow emanated by the fans.

The beginnings of the Devi as a god are lost in the fogs of time. After some time, we track down notices of the Goddess in different texts from the Vedic period and in the Ramayana and Mahabharata. Indeed, even a lot later, Krittivasi's version of Ramayana, formed in the fifteenth hundred years, discusses Durga being venerated with 108 blue lotuses and 108 sacrosanct lights by Master Rama before his fight with Ravana. The day that Master Rama crushed Ravana is commended as Dussehra which falls on the 10th day (Dashami) of the Durga puja.

In writing from around the sixteenth century we find the main notices of the amazing festival of Durga puja by zamindars (property managers) in West Bengal. Various contents highlight various rajas (lords) and zamindars who celebrated and funded the Durga puja for the entire town. The Bonedi Bariri Pujo (Puja in the place of zamindars) remains part of a custom in Bengal. The greater families, place the symbol in the yards of their Havelis for individuals to come and petition the Goddess Durga.

One of the most popular establishments in Kolkata is Belur Math. The base camp of Ramakrishna Math and Mission, Belur Math was established by Master Vivekanand. Laid out on the western bank of the Hoogly stream, this Numerical hosts an exceptionally well-known Durga puja. The main Durga puja here was held in 1901 by Master Vivekananda himself. At first, celebrated inside a little pandal, the Durga puja at Belur Math currently draws in a huge number of individuals consistently.

Rituals:

With energy humming in the air, the city of Kolkata illuminates for the ten days of the Durga Puja. With the sound of dhak and shankh (conch shell) alongside the smell of newly cooked bhog in the air, each family commends every day with unlimited energy. Every year, the appearance of the panchang(calendar with the date and time for puja) brings back the delightful idea of the celebration on its way.

Mahalaya marks the finish of the Pitru Paksha Shraddha (the 16-day time of giving recognition to our predecessors) and the start of the favorable Durga puja. This day is accepted to be the start of Devi's excursion toward her maternal home. In the first part of the day, one can hear the bound together sound of the Chandi way coming from the radios or TVs across the Bengali settlements.

The 6th day of Shashti marks the section of Devi Maa into her homestead. In all greatness, Maa Durga drives a parade into her pandal alongside God Ganesh, God Kartikey, Goddess Lakshmi, and Goddess Saraswati. Enlivened with flickering gems, splendid saree, and sindoor (vermillion), the Devi is joined by the dhak (players of Dhak - a drum-like instrument played utilizing two wooden sticks). The dhak makes the heart race and adds a furor to the parade. At night, Bodon happens. Bodon is the enlivening of Goddess Durga for the seventh, eighth, and ninth day of puja. The uncovering of Devi's face happens during Bodon alongside a formal puja.

The functions of the seventh day or Saptami start before the first light. The customs for the day start with the pre-sunrise shower of 'Kola bau' (Banana Lady of the hour) or 'Nabapatrika snan'. Accepted to be the spouse of Ganesha, Kola Bau is likewise deciphered as a type of Goddess Durga herself. As Durga is known to be the Goddess of farming to many, Kola bau is addressed by the nine normal plant types of Goddess Durga. At the point when every one of them is integrated, the Banana leaf looks like the ghunghat (cover) of a recently hitched lady of the hour, concealing her face timidly. Kola bau is then washed in the stream as the minister's serenade mantras. Another saree is hung around her and she is put on the right of Ganesh.

The Eighth-day - Ashtami or Maha Durgasthami is the day of variety, show, and greatness. Wearing recently bought kurtas and sarees joined by matching arrangements of gems, individuals head towards the pandal to play out the puja ceremonies for the afternoon. The group out and about gets increasingly thick as the day moves towards the Sondhi aarti.

On this day, nine little pots with banners of various varieties, each for the different Shaktis(energies) are introduced and the Nine Shaktis are summoned and loved. In the Pandals, individuals draw nearer to the Durga symbol to give Anjali. Here, bloom petals alongside bel paata (bel leaves) are appropriated among the aficionados, which they clutch while presenting mantras with the cleric. The blossoms are then gathered and presented at the feet of the Devi. The Anjoli is a piece of the Saptami, Ashtami as well as Navami customs.

After this, the Kumari Puja happens where youthful, unmarried young ladies, who have not yet arrived at pubescence are revered as a type of the Devi. Contingent upon the age of the young ladies (from one to sixteen), they are venerated in various types of Durga. Roses, desserts, and Dakshina (gift) are introduced as contributions to the youthful Kumari seeming to be a living Goddess.

A huge group accumulates for the Sandhi aarti at Maha Ashtami. The most recent 24 minutes of Ashtami and the initial 24 minutes of Navami (10th day) are considered as Sondhi (Sandhiya) or a hallowed cusp. In this Puja, the Devi is venerated in her Chandiavatar. The Markandeya Purana, which is discussed during the Puja, recounts the narrative of how Durga during her fight with Mahishasura appeared as Chandi to kill the two Asuras - Chando and Mundo. 108 lights are lit as standard practice in the Sondhi aarti while the dhaki plays the dhak and individuals hit the dance floor with bliss to the aarti. At these times you can feel yourself being splashed totally into the environmental elements. Individuals applaud and move as the beat of the aarti and dhaki arrive at a crescendo. And afterward, as the Arti is finished the quiet dominates. The puja closes with the conveyance of bhog.

On the 9th day - Navami continues with a progression of pujas. Among the principal ceremonies are Boli and Homa. Boli is the conciliatory practice to pacify the goddess. Presently, it is for the most part finished with a pumpkin or sugarcane. Home is a fire penance that comes from the mix of Vedic as well as tantric customs. The day closes with the aarti alongside the dhunuchi-Nach (a Bengali incense burner utilized for the ritualized love dance).

The 10th day - Dashami is known as the Bijoya Dashami (Triumph on the 10th day). On this day, Devi starts her process back home. One of the most fascinating pieces of the day lies in the Sindoor Khela. Here, wedded ladies offer Baran (goodbye) as betel leaf, desserts, and vermillion to the Devi. After this, the women apply sindoor in the splitting of one another's hair and smear its remainder on one another's countenances. As sindoor is a sign of a wedded lady, this custom is accepted to be a request to the Devi for the wellbeing and tranquility of their families as well as life partners. Wearing laal-paar-Saada-sarees (white saree with ruby boundary) and canvassed in red vermillion, the delight is obvious from the essence of the ladies.

Followed by the Sindoor Khela, Bisorjon(immersion) of the icon of the Devi is the finishing up service to the Durga puja. As far as some might be concerned, it is a personal second to see Maa leaving. The icon of Maa Durga, as well as the Nabapatrikaare, submerged in the waterway encompassed by the enormous hordes of lovers that have come to see them off. The water (Shanti Jal) gathered from the inundation spot is sprinkled on the enthusiasts embracing the quiet abandoned by Maa. Heartbroken, individuals get back with the Devi housed in their souls.

Living The Puja:

The experience of Durga puja can't be communicated in words. Inclination individuals to survive. The festival they hang tight for consistently. A few social components like theater, dance as well as workmanship rivalries give a fascinating visual savor of the experience of the puja pandal. Embellished specifically, the pandals show fine craftsmanship in different materials also. Accordingly, the puja draws in the aficionados of Maa as well as admirers of social works of art.

You can feel every one of your faculties conscious when you step into the paths prompting any pandal and in a flash, you're influencing to the dhak, hitting the dance floor with the dhunuchi and delighting in the scents of the newly cooked bhog as you gaze at the splendid shades of red around you! The embodiment of Durga Puja lies in the feelings of unadulterated rapture during these nine days. Families rejoin, Dida’s(grandmothers) meet their grandkids, companions tattle, and appreciate gigantic assortments of food. This is under the countless pandals spread across urban communities with the Devi maintaining careful attention overall.