Wednesday, May 4, 2011
"JAGANNATH SWAMY NAYANPATH GAMI BHABHA TUME"
In the minds of the millions of Indians, Orissa is the land of Jagannath. The name Jagannath literally means “Lord of the Universe.” It is one of the most sacred pilgrimage spots in India and it is also one of the four Dhamas of the divine that lie on the four directions of the compass. The Jagannath temple in Puri was built approximately 1135-1150 by King Chodaganga Deva of the Eastern Ganga dynasty and finished by his descendant, Anangabhima Deva, during the 12th century. This was during the classical period of temple building in Orissa (approximately the eighth through thirteenth centuries). One of the most revered of all temples of Lord Vishnu is the Lord Jagannath Temple in eastern India.
It was built in its present form in 1198 and is protected by two surrounding walls. The conical tower of the temple is 58 mt high on which the flag and the wheel of Lord Vishnu can be seen.
The temple is dedicated to Jagannath, who is identified by his devotees with Krishna. It is also dedicated to Balabhadra and Subhadra, the brother and sister, respectively, of Jagannath. These three together are the principal deities of the temple, whose images reside in the temple's sanctuary. Like the Lingaraja temple in Bhubaneshwar, this temple too is not open for Non-Hindus who contend themselves by viewing it from outside it's precincts.
It was built in its present form in 1198 and is protected by two surrounding walls. The conical tower of the temple is 58 mt high on which the flag and the wheel of Lord Vishnu can be seen.
The temple is dedicated to Jagannath, who is identified by his devotees with Krishna. It is also dedicated to Balabhadra and Subhadra, the brother and sister, respectively, of Jagannath. These three together are the principal deities of the temple, whose images reside in the temple's sanctuary. Like the Lingaraja temple in Bhubaneshwar, this temple too is not open for Non-Hindus who contend themselves by viewing it from outside it's precincts.
Tuesday, May 3, 2011
THE LEGEND OF SRI JAGANNATHA & PURI
Puri is an ancient shrine, enshrining Krishna - Jagannath in the form of a wooden image. There is a legend about the construction of the Jagannath temple and installation of three deities therein. According to this legend in the Satya Yuga there was a king "Indradyumna", in Malava . He was a great devotee of Vishnu. Once he had vision of "Nilamadhava Vishnu" in his dream. Next day he sent emissaries in four direction to find out where the image, he dreamt of, was being worshipped. Brahmin Vidyapati was sent to the east. He came to "Utkala(ODISHA)" and entered a Savara village.He took shelter in the house of the Savara King "Visvavasu".His daughter Lalita fell in love with Vidyapati who had to marry her so that he might get information about Nilamadhava through his wife. Savara king Visvavasu used to go to the forest every morning to worship Nilamadhava installed in "Niakandara" (Blue cave)
. Vidyapati preesed 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 therefrom with a blindfold.When Vidyapati heard this proposal he requested his wife to arrange something so that he may subsequently know the path. Lalitha gave him some sesame seeds to be scarred 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 had the luck of witnessing Nilamadhava. But when Vasu Savara offered the food to the deity, he did not take it as usual. At this Vasu Savara was much dismayed. At this time he heard someone saying from the air, “we would no longer continued to be worshipped by you. Vasu, we will change the present Nilamadhava form and assume Daru form. We shall be worshipped in the temple by Raja "Indradyumna. Hearing this voice of God, Vasu Savara came back with Vidyapati with a heavy heart.Then Vidyapati bade farewell to his wife and father-in-law and started to convey the news to Raja Indradyumna. On hearing the news, Raja Indradyumna at once started with his retinue for Utkal tosee Nilamadhava. On reaching Nilakandara he found it vacant. But a voice from the air told him to construct atemple on Nilasaila (Blue mountain)(Now known as PURI).Accordingly Raja started construction of a big temple. When it was completed he went to Brahmaloka to invite Brahma to consecrate the temple. He had to wait for nine yugas till Brahma finished his meditation. The temple became buried in sand in his absence.
In the mean time a new dynasty ruled in Utkala. "Galamadhva", a king of that dynasty, detected the presence of the temple buried under the sand. When he got the sand removed a beautiful temple was revealed. He was considering to install images in the temple when Indradyumna with Lord Brahma appeared before him. There was a tussle between Galamadhava and Indradyumna over the ownership of the temple. However, Lord Brahma decided in favour of Indradyumna and asked Raja to install deities in the temple.
The raja was at loss where to find the deities. At night God told him in dream that He would be floating in the sea in form of log of wood. Then he employed thousands carpenters to make deities but they failed ,as their instrument did not work against the wood. At last an old carpenter came and said he would make images in 21 days on the condition that he would remain completely shut up inside the temple for the period Raja consented, But on the expiry of two weeks the Queen became anxious since no sound came out of the temple. She thought that the carpenter was dead. She pressed the king to open the door. The king yielded and opened the door. He found three images in unfinished state. The Raja was sorry but the God told him that he wanted to assume that Bauddha form in Kali age. The King did discover the log of wood. Vishnu and Vishwakarma appeared in the form of artistes and prepared images of Krishna, Balarama and Subhadra from the tree. The wooden images being worshipped are renewed during special occasions.Interestingly, the Rig Veda refers to Purushottama in the form of a wooden image, prepared from a log of wood floating on the ocean. Puri is also referred to in the Bhrama purana.
. Vidyapati preesed 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 therefrom with a blindfold.When Vidyapati heard this proposal he requested his wife to arrange something so that he may subsequently know the path. Lalitha gave him some sesame seeds to be scarred 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 had the luck of witnessing Nilamadhava. But when Vasu Savara offered the food to the deity, he did not take it as usual. At this Vasu Savara was much dismayed. At this time he heard someone saying from the air, “we would no longer continued to be worshipped by you. Vasu, we will change the present Nilamadhava form and assume Daru form. We shall be worshipped in the temple by Raja "Indradyumna. Hearing this voice of God, Vasu Savara came back with Vidyapati with a heavy heart.Then Vidyapati bade farewell to his wife and father-in-law and started to convey the news to Raja Indradyumna. On hearing the news, Raja Indradyumna at once started with his retinue for Utkal tosee Nilamadhava. On reaching Nilakandara he found it vacant. But a voice from the air told him to construct atemple on Nilasaila (Blue mountain)(Now known as PURI).Accordingly Raja started construction of a big temple. When it was completed he went to Brahmaloka to invite Brahma to consecrate the temple. He had to wait for nine yugas till Brahma finished his meditation. The temple became buried in sand in his absence.
In the mean time a new dynasty ruled in Utkala. "Galamadhva", a king of that dynasty, detected the presence of the temple buried under the sand. When he got the sand removed a beautiful temple was revealed. He was considering to install images in the temple when Indradyumna with Lord Brahma appeared before him. There was a tussle between Galamadhava and Indradyumna over the ownership of the temple. However, Lord Brahma decided in favour of Indradyumna and asked Raja to install deities in the temple.
The raja was at loss where to find the deities. At night God told him in dream that He would be floating in the sea in form of log of wood. Then he employed thousands carpenters to make deities but they failed ,as their instrument did not work against the wood. At last an old carpenter came and said he would make images in 21 days on the condition that he would remain completely shut up inside the temple for the period Raja consented, But on the expiry of two weeks the Queen became anxious since no sound came out of the temple. She thought that the carpenter was dead. She pressed the king to open the door. The king yielded and opened the door. He found three images in unfinished state. The Raja was sorry but the God told him that he wanted to assume that Bauddha form in Kali age. The King did discover the log of wood. Vishnu and Vishwakarma appeared in the form of artistes and prepared images of Krishna, Balarama and Subhadra from the tree. The wooden images being worshipped are renewed during special occasions.Interestingly, the Rig Veda refers to Purushottama in the form of a wooden image, prepared from a log of wood floating on the ocean. Puri is also referred to in the Bhrama purana.
PURI "SRI MANDIR"
The celebrated Temple of Lord Jagannath now existent at Puri was constructed by Raja Ananta Varman Chodaganga Dev in 12th century A.D. The wooden images of Jagannath Balabhadra and Subhadra were installed in that temple. The management of the temple continued under the Hindu rulers till 1558, when the State of Orissa was conquered by the Afghan Nawab of Bengal and the temple was attacked by the Afgan General ‘Kalapahad’. Then, an independent Khurda kingdom was established by Ramachandra Deb, who assumed the management of the temple. He consecrated the temple and reinstalled the deities. Raja Mansingh, a General of the Mughal King Akbar, defeated the Afghans and annexed Orissa in to the Mughal dominion. It remained under the Mughals till 1751 A.D. Till 1760, the temple continued under the Khurda Raja, who was paying tribute to Mughals and Marhattas. Marhattas took up direct management of the temple till 1803. The Britishers annexed Orissa into British empire in 1803 and allowed Puri Raja to manage the temple. The position continued till 1947.
HISTORY OF PURI "SRI MANDIR"
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 the present temple.
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 the present temple.
ARCHITECTURE OF PURI "SRI MANDIR"
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 (that is, east, south, west, north) is a Gopura or gate, over which rises a pyramid-shaped roof. The Jagannath temple is one of the largest in Orissa & in India also. The temple complex covers several square blocks and contains dozens of structures, including a mammoth kitchen. Truly, the Jagannath temple at Puri is an architectural and cultural wonder.
The main temple structure is 65m (214 feet) high and is built on elevated ground, making it look more imposing. The temple complex comprises an area of 11 acres and is enclosed by two rectangular walls. The outer enclosure is called Meghanada Prachira, 200m (665 ft) by 192m (640 ft). The walls are 6m (20 feet) high. The inner wall is called Kurmabedha, 126m (420 ft) by 95m (315 ft). The walls were built during the 15th or 16th century.
This temple is said to have the largest kitchen in the world, and feeds thousands of devotees daily. The kitchen can prepare food for 100,000 people on a festival day and 25,000 is not unusual on a normal day. 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 the present temple.
The main temple structure is 65m (214 feet) high and is built on elevated ground, making it look more imposing. The temple complex comprises an area of 11 acres and is enclosed by two rectangular walls. The outer enclosure is called Meghanada Prachira, 200m (665 ft) by 192m (640 ft). The walls are 6m (20 feet) high. The inner wall is called Kurmabedha, 126m (420 ft) by 95m (315 ft). The walls were built during the 15th or 16th century.
This temple is said to have the largest kitchen in the world, and feeds thousands of devotees daily. The kitchen can prepare food for 100,000 people on a festival day and 25,000 is not unusual on a normal day. 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 the present temple.
THE APPEARANCE OF LORD JAGANNATHA
The significance of Jagannatha Puri and the story of how the Deities first appeared goes back many hundreds of years to the time of King Indradyumna, who was a great devotee of Lord Vishnu. It is related that one time in his court the King heard from a devotee about an incarnation of Lord Vishnu, named Nila-madhava. (Nila-madhava is the Deity form of Lord Vishnu.) The King very much wanted to see this form of the Supreme and sent many Brahmanas to search for Nila-madhava. All came back unsuccessful except for Vidyapati, who did not come back at all. He had wandered to a distant town which was populated by a tribe of people known as Shabaras of non-Aryan heritage. He had stayed in the house of Visvasu, and later, at Visvasu's request, married his daughter, Lalita.
After some time Vidyapati noticed that Visvasu would leave the house every night and return at noon the next day. Vidyapati asked his wife about this. Though her father had ordered her not to tell anyone, she told Vidyapati that Visvasu would go in secret to worship Nila-madhava. After repeated requests, Vidyapati finally got permission to go see Nila-madhava, only if he went blindfolded. But Vidyapati's wife had bound some mustard seeds in his cloth so that a trail could be left to follow later. When they reached the shrine, Vidyapati saw the Deity Nila-madhava after the Shabara took off the blindfold, and he felt great ecstasy.
The story continues to relate that while Visvasu was out collecting items for worship, Vidyapati saw a bird fall into the nearby lake and drown. The soul of the bird suddenly took a spiritual form and ascended back to the spiritual world. Vidyapati wanted to do the same and climbed the tree to jump in the lake. Then a voice from the sky declared that before he jumped he should tell Indradyumna that he had found Nila-madhava.
When Visvasu returned to worship the Deity, Nila-madhava spoke and said that He had accepted the simple worship from him for so many days, but now He wanted to accept the opulent worship that would be offered by King Indradyumna. When Vidyapati went back to tell the King, Indradyumna immediately went to find Nila-madhava but could not locate Him. So the King arrested Visvasu, but a voice told him to release the Shabara and that he should build a temple on top of Nila Hill where the King would see the Lord as Daru-Brahma, the wooden manifestation of the Absolute.
After great endeavor, King Indradyumna built the temple at Sri Kshetra, now known as Jagannatha Puri, and later prayed to Lord Brahma to consecrate it. However, Lord Brahma said that it was not within his power to consecrate the temple since Sri Kshetra is manifested by the Supreme's own internal potency and is where the Lord manifests Himself. So Brahma simply put a flag on top of the temple and blessed it, saying that anyone who from a distance saw the flag and offered obeisances would easily be liberated from the material world. Nonetheless, after much waiting the King became anxious since Nila-madhava had not manifested Himself. Thinking his life was useless, the King decided he should end his life by fasting. But in a dream the Lord said that He would appear floating in from the sea in His form as Daru-brahman.
The King went to the shore and found a huge piece of wood that had the markings of a conch, disc, club, and lotus. This was "Daru-Brahma". But try as they might, the men could not budge the wood. In a dream the Lord spoke to the King and instructed him to get Visvasu and put a golden chariot in front of Daru-brahman. After doing this and forming a kirtana party to chant the holy names, and praying for Daru-brahman to mount the chariot, Daru-brahman was easily moved. Lord Brahma performed a sacrifice
(MAHA YAGNYA) where the present temple now stands and installed a Deity of Lord Narasimhadeva, the Deity that is now on the western side of the temple.
From the wooden Daru-Brahma, the King requested many expert carvers to carve the form of the Deity, but none could do so for their chisels immediately broke when they touched the wood. Finally the architect of the demigods, Visvakarma, (some say the Lord Himself) arrived as an old artist, Ananta Maharana, and promised that he would carve the Deity form of the Lord inside the temple in three weeks if the King would allow him to work behind closed doors. But after 14 days the King became very anxious because he could no longer hear the sounds of the carving. Finally he could stand it no more. On the advice of the queen he personally opened the doors of the temple to see what was happening. Then he saw the forms of Lord Jagannatha, Lord Balarama, and Lady Subhadra. But because the King had opened the doors sooner than he was supposed to, the Deities were not completed; Their feet and hands had not yet been carved. Thus, the Supreme manifested Himself in this form.
The King felt he had committed a great offense for having opened the doors before the allotted three weeks had passed, so he decided to end his life. But in a dream Lord Jagannatha told the King that though he had broken his promise, this was just a part of the Supreme's pastimes to display this particular form. The King was told that this form, even though it appeared to be incomplete, was actually the form of the Lord that was meant to be worshiped in this age of Kali-yuga. Occasionally the King could decorate the Deity with golden hands and feet. Yet those devotees filled with love would always see the form of Lord Jagannatha as the threefold bending form of Syamasundara, Krishna, holding a flute. Thus, the Supreme appeared in this form so that people could approach and see Him, especially as He rides through town on the huge carts during the Ratha-Yatra festival.
After some time Vidyapati noticed that Visvasu would leave the house every night and return at noon the next day. Vidyapati asked his wife about this. Though her father had ordered her not to tell anyone, she told Vidyapati that Visvasu would go in secret to worship Nila-madhava. After repeated requests, Vidyapati finally got permission to go see Nila-madhava, only if he went blindfolded. But Vidyapati's wife had bound some mustard seeds in his cloth so that a trail could be left to follow later. When they reached the shrine, Vidyapati saw the Deity Nila-madhava after the Shabara took off the blindfold, and he felt great ecstasy.
The story continues to relate that while Visvasu was out collecting items for worship, Vidyapati saw a bird fall into the nearby lake and drown. The soul of the bird suddenly took a spiritual form and ascended back to the spiritual world. Vidyapati wanted to do the same and climbed the tree to jump in the lake. Then a voice from the sky declared that before he jumped he should tell Indradyumna that he had found Nila-madhava.
When Visvasu returned to worship the Deity, Nila-madhava spoke and said that He had accepted the simple worship from him for so many days, but now He wanted to accept the opulent worship that would be offered by King Indradyumna. When Vidyapati went back to tell the King, Indradyumna immediately went to find Nila-madhava but could not locate Him. So the King arrested Visvasu, but a voice told him to release the Shabara and that he should build a temple on top of Nila Hill where the King would see the Lord as Daru-Brahma, the wooden manifestation of the Absolute.
After great endeavor, King Indradyumna built the temple at Sri Kshetra, now known as Jagannatha Puri, and later prayed to Lord Brahma to consecrate it. However, Lord Brahma said that it was not within his power to consecrate the temple since Sri Kshetra is manifested by the Supreme's own internal potency and is where the Lord manifests Himself. So Brahma simply put a flag on top of the temple and blessed it, saying that anyone who from a distance saw the flag and offered obeisances would easily be liberated from the material world. Nonetheless, after much waiting the King became anxious since Nila-madhava had not manifested Himself. Thinking his life was useless, the King decided he should end his life by fasting. But in a dream the Lord said that He would appear floating in from the sea in His form as Daru-brahman.
The King went to the shore and found a huge piece of wood that had the markings of a conch, disc, club, and lotus. This was "Daru-Brahma". But try as they might, the men could not budge the wood. In a dream the Lord spoke to the King and instructed him to get Visvasu and put a golden chariot in front of Daru-brahman. After doing this and forming a kirtana party to chant the holy names, and praying for Daru-brahman to mount the chariot, Daru-brahman was easily moved. Lord Brahma performed a sacrifice
(MAHA YAGNYA) where the present temple now stands and installed a Deity of Lord Narasimhadeva, the Deity that is now on the western side of the temple.
From the wooden Daru-Brahma, the King requested many expert carvers to carve the form of the Deity, but none could do so for their chisels immediately broke when they touched the wood. Finally the architect of the demigods, Visvakarma, (some say the Lord Himself) arrived as an old artist, Ananta Maharana, and promised that he would carve the Deity form of the Lord inside the temple in three weeks if the King would allow him to work behind closed doors. But after 14 days the King became very anxious because he could no longer hear the sounds of the carving. Finally he could stand it no more. On the advice of the queen he personally opened the doors of the temple to see what was happening. Then he saw the forms of Lord Jagannatha, Lord Balarama, and Lady Subhadra. But because the King had opened the doors sooner than he was supposed to, the Deities were not completed; Their feet and hands had not yet been carved. Thus, the Supreme manifested Himself in this form.
The King felt he had committed a great offense for having opened the doors before the allotted three weeks had passed, so he decided to end his life. But in a dream Lord Jagannatha told the King that though he had broken his promise, this was just a part of the Supreme's pastimes to display this particular form. The King was told that this form, even though it appeared to be incomplete, was actually the form of the Lord that was meant to be worshiped in this age of Kali-yuga. Occasionally the King could decorate the Deity with golden hands and feet. Yet those devotees filled with love would always see the form of Lord Jagannatha as the threefold bending form of Syamasundara, Krishna, holding a flute. Thus, the Supreme appeared in this form so that people could approach and see Him, especially as He rides through town on the huge carts during the Ratha-Yatra festival.
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