প্রিয়তম হে

রবীন্দ্রনাথ সম্পর্কে যদি কিছু বলতেই হয়, তাহলে বলব-

"তোমার মতন এমন টানে কেউ তো টানে না।"  

কখনও বসন্তের বাতাসের মতন ছুঁয়ে গেছে রবীন্দ্রনাথ, আবার কখনও বর্ষার দিনে মন কে মেঘের সঙ্গী হতে শিখিয়েছে আবার সেই রবীন্দ্রনাথ। পলাশের নেশায়ে বা সিক্ত জুঁই-কামিনীর গন্ধে, কারণের অকারণের সুখে দুঃখে বাঙালির হৃদয়ে মিশে থাকে এই একটি নাম। রবীন্দ্রনাথ শুধু একটি নাম নয়, একটি জীবনদর্শন। ওনাকে আমরা যত চিনেছি, তত বেশী চিনেছি জীবনকে। যত বুঝেছি ওনাকে, তত বুঝেছি নিজেকে। প্রতিদিন নতুন করে  জীবনকে অনুভব করতে শিখিয়েছেন, অনুধাবন করতে শিখিয়েছেন। নিজেকে চেনার এক খোলা বইয়ের নাম হল রবীন্দ্রনাথ।   সত্যিই তাই “ তোমার মতো এমন টানে কেউ তো টানে না “।

আজ বাইশে শ্রাবণ। বাঙালির চেতনা জাগানিয়া কবির ৭৭তম প্রয়াণবার্ষিকী।  ১৯৪১ সালে এমনই এক বৃষ্টির দিন কে বেছে নিয় ইহলোকের মায়া ত্যাগ করেছিলেন কবিগুরু রবীন্দ্রনাথ ঠাকুর। কবি নজরুল ইসলামের কথায়ে বলতে গেলে-

“দুপুরের রবি পড়িয়াছে ঢলে অস্তপারের

কোলে,

বাংলার কবি শ্যামবাংলার হৃদয়ের ছবি

তুমি চলে যাবে বলে,

শ্রাবণের মেঘ ছুটে এলো দলে

দলে............

বাংলা ও বাঙ্গালীর অনুভুতির নিত্য

অনুসঙ্গ,কবিদের ইন্দ্র তুমি, তুমি রবীন্দ্র,

বাইশে শ্রাবণ তোমার প্রয়ান মৃত্যু নয়,

কেবলি দেহান্তর মাত্র ।“

মৃত্যু কিন্তু ছুঁতে পারেননি রবীন্দ্রনাথ কে। রবি ঠাকুর আজ ও জীবিত কোটি কোটি মানুষের হৃদয়ে। যার কলমের ছোঁওয়ায়ে মৃত্যু ও পেয়েছে সুর, পেয়েছে কাব্যরস, তাঁকে কি মৃত্যু এত সহজে ছুঁতে পারে? মানুষকে যিনি জীবনমুখী করে রাখেন, তাঁর কি কখনও মৃত্যু ঘটে? সেই রবি কি কখনও অস্ত যায়? বরং শ্রাবণের এই দিনে আমরা যেন আরেকবার বলে উঠি-

“শ্রাবণের ধারার মতো পড়ুক ঝরে, পড়ুক ঝরে

তোমারি সুরটি আমার মুখের 'পরে, বুকের 'পরে ॥

পুরবের আলোর সাথে পড়ুক প্রাতে দুই নয়ানে--

নিশীথের অন্ধকারে গভীর ধারে পড়ুক প্রাণে।

নিশিদিন এই জীবনের সুখের 'পরে দুখের 'পরে।"

এমন ভাবে যুগযুগ ধরে মানুষের শিরায় শিরায় প্রবেশ করতে খুব কম কবিই পেরেছেন। আমাদের আনন্দে, বিষাদে তিনিই থেকেচেন চিরসখা হয়ে। আমাদের চিত্ত যখন চঞ্চল, জীবন যখন ঢেকে গেছে অন্ধকারে, তখন মন সব ভুলে ডুব দিয়েছে রবীন্দ্রনাথে। তিনিই ডুবিয়েছেন, আবার তিনিই ভাসিয়ে তুলেছেন। তিনি যেন সেই মুক্তিদাতা যিনি না বলতেই বুঝে গেছেন আমাদের সব কষ্ট, সমস্ত না পাওয়া,  এনে দিয়েছেন মুক্তির স্বাদ, খুলে দিয়েছেন দখিন-দুয়ার।   নীরব কান্না কন্ঠ পেয়েছে গীতবিতানে। "আমার নিখিল তোমাতে পেয়েছে তার অন্তরের মিল।"

যা কিছু প্রাণহীন তা সুর খুঁজে পায়ে রবিগানে। শুধু তিনিই বোধহয় মৃত্যু তেও ঘটাতে পারেন এক নতুন হৃদয়স্পন্দন। 

"যা-কিছু জীর্ণ আমার, দীর্ণ আমার, জীবনহারা,

তাহারি স্তরে স্তরে পড়ুক ঝরে সুরের ধারা।"

অবসাদে ডুবে যাওয়া মানুষকে শিখিয়েছেন জীবনের মূলমন্ত্র। দুঃখ ও মৃত্যু কে জয় করে বেঁচে থাকার চাবিকাঠি রবীন্দ্রনাথ। জীবন ও মরণের সীমানা ছাড়িয়ে তিনি আজীবন আমাদের পরম বন্ধু। তাঁর মতন বন্ধু বোধহয় আর কেউ নেই। 

তাই-

“তোমার অসীমে প্রানমন লয়ে যত দূরে আমি ধাই -

কোথাও দুঃখ, কোথাও মৃত্যু, কোথা বিচ্ছেদ নাই।“

অমরত্বের প্রত্যাশা না করেও গভীর জীবনতৃষ্ণায় রবীন্দ্রনাথ ঠাকুর লিখেছেন –

‘মরিতে চাহি না আমি সুন্দর ভুবনে/মানবের মাঝে আমি বাঁচিবার চাই। এই সূর্যকরে এই পুষ্পিত কাননে/জীবন হৃদয় মাঝে যদি স্থান পাই।’

কিন্তু অমরত্ব ছাড়া আর কিই বা আমরা দিতে পারি তাঁকে? তাই তিনি আছেন। আজ ও চিরকাল থাকবেন নয়নের মাঝখানে। 

"নয়ন তোমারে পায় না দেখিতে, রয়েছ নয়নে নয়নে।

হৃদয় তোমারে পায় না জানিতে, হৃদয়ে রয়েছ গোপনে।

বাসনার বশে মন অবিরত ধায় দশ দিশে পাগলের মতো

স্থির-আঁখি তুমি মরমে সতত জাগিছ শয়নে স্বপনে।

সবাই ছেড়েছে, নাই যার কেহ, তুমি আছ তার আছে তব স্নেহ

নিরাশ্রয় জন, পথ যার গেহ, সেও আছে তব ভবনে।

তুমি ছাড়া কেহ সাথি নাই আর, সমুখে অনন্ত জীবনবিস্তার-

কালপারাবার করিতেছ পার কেহ নাহি জানে কেমনে।

জানি শুধু তুমি আছ তাই আছি, তুমি প্রাণময় তাই আমি বাঁচি

যত পাই তোমায় আরো তত যাচি, যত জানি তত জানিনে।

জানি আমি তোমায় পাব নিরন্তর লোকলোকান্তরে যুগযুগান্তর

তুমি আর আমি মাঝে কেহ নাই, কোনো বাধা নাই ভুবনে।"

"Thakur" pujo

প্রভু আমার, প্রিয় আমার পরম ধন হে,

চিরপথের সঙ্গী আমার চিরজীবন হে।

তৃপ্তি আমার, অতৃপ্তি মোর, মুক্তি আমার বন্ধনডোর,

দুঃখসুখের চরম আমার জীবন মরন হে। 

(My lord, my beloved, the utmost treasure of my life,
The one who has been my everlasting companion throughout,
You have been there with my greatest satisfaction and also my unfulfilled desires,
You have been the eternal comrade of my bondage and my moments of emancipation.
You have taken me to the extremes of grief and pleasure,
Your existence defines for me the very beginning and end of life)

The lyrics penned by the man himself are enough to describe his relevance in the minds of thousands of Bangalis all over the globe. Among all our Gods and Goddesses whom we remember in times of happiness and distress, he is the only human being who gets similar stature from us. All our emotions of satisfaction, discontent, liberty, shackles, sorrow, happiness and even life and death are incomplete without calling him to mind. He is truly the wealth that generations of Bangalis have treasured in their hearts and draw their nourishment from. Yes, Bengalis worship their beloved Rabindranath Thakur with all their heart and soul. Does a worship include only mantras and offerings? No, this isn't anything of that sort. The only offering here is the reverence that one feels deep within as Tagore grows upon us as we grow up.

His sole contribution to literature is more than enough to read and understand life in a lifetime. His works present life in a nutshell, comprising every emotion, every chapter of life and every pull at your heartstrings with each turn of the season. His poetry, his philosophy and his view of life has not only enriched our culture but has also enriched our outlook towards life as well. Reading or listening to his works have a calming effect on a troubled mind because we begin to see life and its bounty and disappointments with a sublime view. We rise above the usual, the mundane and learn to accept life as it comes with its surprises, with its ups and downs like the rhythm of the heart and our ego is put to shame with an exalted and a purer mind that is cleansed of all pettiness. We understand that life and death are ultimate realities and all that happens in between is like a mirage we try to chase in a desert.

"ক্ষুদ্র আশা নিয়ে রয়েছে বাঁচিয়ে, সদাই ভাবনা,

যা কিছু পায় হারায়ে যায়, না মানে সান্তনা।।

সুখ আশে দিশে দিশে, বেড়ায় কাতরে-

মরীচিকা ধরিতে চায় এ মরুপ্রান্তরে।। "

(People cling on with the minutest of hope in their hearts, apprehensive to see them crushed any moment,
Inconsolable, when they lose the little they have gained.
In the search of happiness they wander about helplessly,
Only to be chasing mirages in endless stretches of deserts. )

But once again, it is the same Rabindranath who inspires us to fight our shackles and rise up from our ashes like a phoenix to break the walls that confine us.

" কেন রে বিধাতা পাষাণ হেন,

চারি দিকে তার বাঁধন কেন!

ভাঙ রে হৃদয়, ভাঙ রে বাঁধন,

সাধ রে আজিকে প্রানের সাধন,

লহরীর পর লহরী তুলিয়া,

আঘাতের পর আঘাত কর। "

(Why is the Lord such stone-hearted?
Why has he shackled us in chains?
Unlock the rebellious heart and break open the shackles
Let it accomplish all its desires
Blow after blow from your emancipated heart can smash the shackles into pieces
Like the waves of the sea crashing upon the rocks )

Time and again we look back to him and draw inspiration as to how to channelize our broken dreams and aspirations into creativity so that life itself rises above the meagre. It is indeed inspiring how a man, disappointed time and again with life, broken by deaths of his loved ones one by one, rose up each time with renewed spirit to accept life as it came to him. On one hand, he teaches us to carve our own destiny instead of mutely accepting everything as Fate, and on the other, he soothes our hurt souls and shows us how to benevolently accept whatever life gives us and move on towards life.

If you question your inner soul why we as a community are so obsessed with Rabindranath, why we idolize him and just cannot bring ourselves to do without him, the answer is very simple. He is not an idol of stone and mud that we worship; he is the human we worship in reverence because he has immortalized everyday sufferings and existential crisis with his art and given us hope to live on through them. His art eases our pain and makes our sufferings tolerable.

He too, was a common man, falling in love, raising a family, facing disappointments in bitter form throughout his life. Through his lyrics and poetry he has time and again questioned the Almighty and His blows every time he faced depression. Following the death of his wife and his children, he believed that it was difficult to keep the flame of life steady when God Himself douses it every time. These are the times when we start losing faith.

" যতবার আলো জ্বালাতে চাই 

নিবে যায় বারে বারে 

আমার জীবনে তোমার আসন 

গভীর অন্ধকারে। "

( Although I try to light the lamp innumerable times , a breath of wind emerges to douse it every time.
Your seat in my life thus remains ever clouded in darkness)

May be because death scarred him bitterly at a very tender age after his Muse chose to leave the world he understood that death is the ultimate reality one has to face in life. Peace is in its acceptance as life is indeed fleeting like the short lived breeze in Spring. The young poet writes after the sudden and unexpected death of his Muse, his childhood playmate, his sister-in-law,

বসন্তের বাতাস টুকুর মত, 

সে যে ছুঁয়ে গেল, নুয়ে গেল রে - 

ফুল ফুটিয়ে গেল শত শত।

সে চলে গেল, বলে গেল না-  সে কোথায় গেল ফিরে এল না। 

(Like the short lived breeze of Spring, the person came and went by touching me most deeply,
blossoming a hundred flowers in the garden of my life.
The person disappeared without a trace, without bidding goodbye;
 never to return even for a moment) 

It was the first death that had touched him so deeply for the rest of his life. He was clearly not prepared for it and it inwardly changed the poet into a maturer human being with a profound understanding of life and death. The subsequent deaths of his life partner and his daughter, Renuka Devi and son, Shamindranath Tagore later in life concretized the profundity of the philosophy and Tagore sought his art every time to come in terms with life with all its cruelty. He found out that it is again his faith, his submission to Fate that helped him to overcome his grief and raise himself above all the sufferings. In the abode of God, where you surrender your soul with deep acceptance of whatever happens in life, you reach that state where there's neither death nor sorrow.

তোমার অসীমে প্রানমন লয়ে যত দূরে আমি ধাই -

কথাও দুঃখ, কথাও মৃত্যু, কোথা বিচ্ছেদ নাই।

মৃত্যু সে ধরে মৃত্যুর রূপ , দুঃখ হয় হে দুঃখের কূপ,

তোমা হতে যবে হইয়ে বিমুখ, আপনার পানে চাই। 

( When I traverse to the farthest stretches of your infinite realms with my heart and soul,

I realize that all is calm there; there's no sorrow, no death and no pangs of separation. 

The times when I mistakenly turn my face away from you to look at myself, 

The ugliness of death comes to haunt and push me down the bottomless abyss of sorrow. ) 

No wonder his art is our solace when we face times which try to tear us apart. It is his art that acts like our friend, philosopher and guide for which the entire Bengali community keeps Tagore on a pedestal. People who term it as a quintessential Bengali idiosyncrasy ( আদিখ্যেতা,  to be precise) surely either have not understood the reason behind the reverence or has a misplaced idea of the irreplaceable seat of Rabindranath Tagore in the heart of the Bengali community. Yes, the seat is irreplaceable because if you can catch even half of his thought behind his works, you have almost got all the answers you have ever wanted from life.

Windows Calcutta

Charu slightly parts the slatted windows to look at the world outside with her opera glasses. The outside life that is otherwise shut to her, is available only through the gaps of the windows. She moves from one window to another, moving the slats to zoom in on the people walking down the street. This is how she looks at the world outside- through the slatted windows. (Charulata, 1964)



The iconic scene from Charulata is by far the best shot ever showing an inside view of the lazy city of Calcutta through the eyes of a commoner. Somehow sharing similar notes of isolation either out of too many things to do or boredom out of nothing to do at all, we all are trying to zoom in at real life through slatted windows. When it gets too claustrophobic for us to handle the pressure, we part the slats to take a view at life passing by and pause to muse on it. Yet, being distant observers, we are far away from touching life and thus the image is slatted. Life in Kolkata on a hot, sunny day or a waning afternoon turns you philosophical as you watch the trams passing by on the streets, ringing their bells, a horde of school goers returning home in merriment, or simply stare at the trees shaking themselves to offer you some fresh air, while you stand quietly in front of a window for a few minutes.

Apart from the Howrah bridge and the Victoria Memorial, if there is one thing among many others that marks the identity of the city, it is the slatted windows of Calcutta. It marks the signature style of the old heritage houses of the city and is a part of its identity . With everything vintage being replaced by multi-storey buildings, only a few localities in the North and the South are preserving the remnants of Colonial architecture. Without them Calcutta is just another city with the same kind of concrete apartments that you see in every metropolitan city. Just like Jaipur is incomplete without the jaali windows and jharokhas, Calcutta is known for these shuttered windows. What gives life to brick and cement is the architectural brilliance and vintage aesthetics that connect to your soul. Calcutta, even though a city of brick and concrete, had that soul deeply rooted within her. Trapped behind airtight glass panes in air conditioned buildings, the soul struggles to breathe today.  

From the inside of an old Calcutta house.
Picture courtesy :- Satarupa Mitra

The city will be unimaginable without vintage red or yellow houses and the sleepy green wooden slatted windows. Fitting in perfectly with the mysterious character of the city, these give the huge houses a note of mystery. You always have a subconscious urge to know what's lying behind these half open shutters. It is also interesting how the insiders can lift the shutter to look at the busy streets whenever they please or let the rays of the sun heat the room in winter and also shut them down to isolate themselves in darkness on a bright, sunny afternoon in summer.  Half the houses are in a state of decadence today but one can well imagine the architectural excellence even from what remains. The DNA of the city is locked within these architectural nuances, giving Kolkata the old world charm that has intrigued filmmakers from Satyajit Ray to Shoojit Sircar. If Lucknow and Old Delhi has a Mughal hangover, Calcutta has a colonial feel to it and a unique old world charm that blends in European influence seamlessly with untainted Bangaliana.

Calcutta

Venice
Source:- Internet

The influence of European architecture exists not only in the historical buildings like the Raj Bhavan, St.Paul's Cathedral, Princep Ghat, Victoria Memorial, Town Hall, etc., but also dwells heavily upon the house of the commoners as well. The use of the Corinthian pillars and Doric columns is very evident if you come across any old Calcutta house. These tall windows with stained glass designs within a curved arch and shuttered windows are a direct influence of the Venetian blinds. Old Venice has windows very similar to those of Calcutta. This is precisely how European architecture has blended in with our history and culture and it is this conglomeration of influences that makes the city an artist's delight.

These dreamy painted glass panes in an arch pattern still exist in only a handful of houses. Most houses are just left with the iron frame and faded, broken panes speaking of lack of maintenance. Once upon a time these must have given a magical lift to the huge rooms on sunny afternoons when the light came in through the coloured panes.

Coffee House

The use of the shutters were not just an aesthetic addition due to European influences in the Colonial era but also a necessity. Those tall windows letting in too much of sunlight would make life difficult for the people in a humid city like Calcutta. Thus, to screen the windows from too much of heat and sunlight and regulate the amount as per wish, the shuttered screens served the best purpose and were the perfect mix of necessity and aesthetics. Windows lined along the long verandahs sometimes even had extra screens made of a kind of mat called "shital pati". It kept the interiors cool during the hot summers and could be pulled up and down using a string attached.

It is indeed sad to see such state of decadence as you move around the city. Lack of maintenance has brought out the skeletal remains of some of these magnificent architectures. The inevitable fate of such decadent houses is thus in the hands of the promoters and businessmen. In a city already having too many new apartments and housing complexes coming up here and there, most of the old paras are losing the old houses one by one and have started looking alien with apartments having not an iota of aesthetic sense. May it not be too late before people start repairing and reusing the houses instead of breaking them down and replacing them. If development is done keeping the character and heritage of the city alive, it would actually be a real step towards development. With the eyes too used to demolition, it is at times good to see some conservationist approach taken in renovating and converting old Calcutta houses into boutiques, restaurants, home stays and galleries instead of breaking years of history and art for something new. This is a city where we cannot afford to let go of the past to step into the future. The 'new' has to co-exist with the 'old' to let the city have a bright future. 

Byloom, Hindustan Park

Kolkatar Barir Pujo- (Part 3)

The favourite Goddess of the Bengalis is treated with pomp and grandeur when she comes home, just like a daughter who is returning home after long. She stays far away and only gets to visit her maternal home once a year, thus she deserves such grand treatment, doesn’t she? This is the best aspect of our culture that we give a humane form to our Gods and Goddesses. Maa Durga is as mortal as she is divine. On one hand, she is the slayer of demons and on the other hand a simple girl, a simple wife who longs to go to her parents. Bengal has folk songs recalling Uma telling Mahadev,

“বিদায় আমায় দাও গো হর,
দেখিতে যাব জননী,
আমায়ে বিদায় দাও তিন দিনের মতদেরি হবে না না তো”

(Uma, the homesick bride, bids farewell to her husband Mahadev because she wants to visit her mother. She wants a leave for three days and promises to return soon.)

So when the daughter comes home, she is welcomed by the family with the beats of the dhaak and the blowing of the conch and ululation, the typical markers of auspiciousness in a Bengali household. She is then placed on the Thakurdalan, kept especially for the worship of the Goddess. It’s like an elevated portion of the courtyard where the Goddess is kept and worshipped for four days, similar to an altar. Even the sight of the thakurdalan brings a feeling of reverence in the mind.

The bonedi households of Calcutta usually had huge thakurdalans, especially those houses which worshipped Durga and Jagaddhatri. Thakurdalans have a specific structure that gives them a character. A flight of wide stairs lead to the elevated altar which is supported by huge columns decorated usually with stucco floral patterns on the top. As you descend down the stairs, you land in a massive square courtyard with rooms on all sides. Usually, the main entrance opens into the courtyard with the thakurdalan facing you, so that when you enter the house during the celebrations, you come face to face with the Goddess seated in all her grandeur. That is truly a sight to behold.

As soon as you enter the courtyard from the main entrance, the Goddess seated in the Thakurdalan greets you.
Picture taken at Dutta Bari, Girish Park

The 300 year old city has a long history of culture and architecture which is a result of several influences on the city. Before the foreigners started coming in, Kalikata was only a village. Portuguese taders, Dutch traders, Armenian traders started coming here for trade followed by the British East India Company. Three villages of Kalikata, Sutanuti and Gobindapur were joined to create the city and trade centre of Calcutta. Gradually, settlements started flourishing and naturally, the architecture of the colonial period had several influences.

The thakurdalan was a part of this characteristic architecture of colonial times. In even earlier times, the village houses of elite families had a separate temple meant for the worship and celebrations. This was the first time it was made inside the residential complex. It was also a sign of the elite class to mark a separate area for grand celebrations inside the house to show off their status. The structure had a very European feel to it which was a direct influence of the rulers and it was also a mark of their affinity to them to uphold their financial as well as social status. 

But what about the times when there was no celebration taking place? Yes, thakurdalans were not only used for religious purposes but had social significance too. Several elite families had dramas, jatras and debates held on the thakurdalans for private enjoyment. While the men were direct audience to these dramas, jatra palas and kobigaan, the womenfolk watched from behind the screens in the balconies surrounding the courtyard. The thakurdalan of the Tagore household witnessed many performances by then contemporary stalwarts as it served as the perfect stage for private entertainment. Several music conferences have also been held time and again in the palatial thakurdalan and courtyard of Babu Khelat Ghosh’s house at Pathuriaghata. Thakurdalans of some famous families also witnessed historic events like the speech by Surendranath Banerjee condemning the Partition of Bengal on the thakurdalan of BasuBati at Baghbazar, the arguments placed by Raja Ram Mohan Roy for the abolition of sati on the thakurdalan of Sobhabazar Rajbari of Radhakanta Deb.

Thakurdalan of the Jorasanko Tagore household

Architecture of the Thakurdalans

Notice the columns, the arches and the elaborate stucco work of the thakurdalan raised from the courtyard by a flight of stairs.
Picture taken at Sobhabazar Rajbari (ChhotoBari)

Floral work in stucco

Elaborate designs made in stucco

If you visit some of the bonedi households of Calcutta, you can see that most of the thakurdalans are similar in structure with slight differences. While some houses have separate wide pillars or columns supporting the entire structure, some houses have Greek Corinthian pillars with elaborate floral stucco work usually depicting lotus petals. Some houses like the Sobhabazar Rajbari has columns made of a bundle of pillars which is starkly unique. Then you spot the typical arch between the columns that joins them. These arches are mostly circular, semi-circular or pointed in shape. They are adorned by impeccable designs made of stucco or iron filigree. The motifs usually range from lion heads, birds, lotus petals, floral patterns, angels and figures. Dawn Bari at Jorasanko has some wonderful specimen of arches made of iron filigree which is rarely seen. 

Arches of iron at Jorasanko Dawn Bari

Another example of fine iron filigree work

Four pillars supporting the entire Thakurdalan at Bholanath Dham, Beadon Street

Bundle of thin pillars clustered together to make a column
Picture taken at the house of Manmatha Ghosh, Pathuriaghata

Corinthian pillars

Though very few of such palatial architecture are in good form these days, yet even the decadent grandeur is spectacular to look at. One can well imagine how marvelous they must have looked 100 or 200 years back. Standing in front of a thakurdalan or sitting on its stairs gives you a unique feeling of awe and pride for your city which houses such fine specimens of architecture. With several houses falling under the axe of “promoter-raj” and being converted into lavish hotels and apartments, the families who are still trying to uphold the pride of Bengal by maintaining the houses as well as the tradition of Durgotsav are doing a commendable job.

No wonder Uma longs to come back every year to enjoy a few days of such grand celebrations in her maternal abode! Who wouldn’t love to be seated in such a spectacular thakurdalan?

Kolkatar Barir Pujo (Part 2)

The kinds of developments that have taken place in the form and structure of Devi Durga is backed by an interesting history. Here we are not talking about the transition from the traditional 'sabeki' image to that of a modernized one. The 'sabeki' image of the goddess itself went through many changes before arriving at this present form in which she is widely worshipped. This history not only talks about the changing time period, the changes in the tastes and cultures but also of an amalgamation of different styles of sculptures being developed during that period by the artisans. The form in which we see her at present is the result of several changes and additions made during successive time periods.

An interesting part of traditional idols is the backdrop or "chalchitra" behind. It is a semi circular backdrop with interesting paintings that forms the entire structure of the idol. Idols in 'barowari' or 'sarbojanin' community pujas may have done away with the concept of the chalchitra in most cases but even today the traditional idols in the heritage houses are unimaginable without the 'chalchitra' backing the Goddess. The types of chalchitra used to differ from family to family according to the customs followed. There was a time when the artisans could make about eight to ten different forms of chalchitras to meet the demands of the bonedi houses. With decadence in craftsmanship and fading away of many customs, and chalchitras itself becoming limited to just a few hundred traditional pujas, there are hardly three to four styles still in practice.

The two most popular styles of chalchitras seen today are the "Bangla chal" and the "Markini chal". I have no clue why such names have been assigned to these structures and would definitely like to find out more some day. The basic difference between these two is that while the "Bangla Chal" is almost a circular frame behind the idols that extends from one end to the other, the "Markini Chal" has two vertical columns on both sides of the Goddess and a semi-circular structure joining the two columns. Look at these pictures to understand the difference.

Example of Markini Chalchitra

The above image has two vertical columns behind the idols of Lakshmi and Saraswati and a semi-circle extends from one end to the other. Kartik and Ganesha almost remain outside the Chalchitra. Notice how the columns disappear and the semi-circle extends to form a full circle reaching the ground in case of the "Bangla Chal"and includes everyone.

Bangla Chalchitra at Shobhabazar Rajbari

The other two forms of Chalchitra which are almost extinct except for a few bonedi households who are holding on to traditions are the "Mothchouri Chal" and "Tanachouri Chal". With very basic difference, Mothchouri Chalchitra has three pointed triangular structures forming the backdrop while the Tanachouri Chalchitra has three semi-circular structures behind Lakshmi, Durga and Saraswati with spires on top. I failed to find a specimen of Tanachouri Chalchitra but the Mothchouri tradition can still be seen in some households like that of Darjipara Mitra Bari, Chhatubabu Lattubabur Bari or Ramdulal Niwas at Beadon Street and Manmatha Ghose's house at Pathuriaghata Street.

Mothchouri Chalchitra at Darjipara Mitra Bari

Apart from these there were other forms of Chalchitra like Girja Chal, Khop Chal, Dothaki Chal, Sarbashundari Chal, etc. For instance, the Sarbashundari Chalchitra looked like a roof above the Goddess with four pillars at four corners. Sadly, these have gone out of fashion and are not made any longer.

You may have noticed minute and intricate paintings drawn on these chalchitras while looking at the idols. These are what is known as "Patachitra". In earlier days, potua or artists drawing the patachitra would visit each of these households to manually paint on the chalchitras. These paintings comprise of figures from Puranas and Mangalkabya. While some of them contain paintings of Brahma and Vishnu, some others have vivid tales of Chandi. Kailashi Chalchitra have Shiva taking the central position. Dashavatari Chalchitras had all ten avatars of Vishnu drawn along the structure. If you take a close look at the chalchitra of Darjipara Mitra Bari ( picture above) you can notice Maa Tripurashundari above the figure of Shiva on the chal behind Durga, Kali on the chal behind Lakshmi and Jagaddhatri on the chal behind Saraswati.



Another example of decadence that has set in the standard of art in present generations is the lack of artists to paint these patachitras. Nowadays pictures printed on paper is pasted on the chalchitra instead of being manually drawn by artists.

Another very significant transformation that can be noticed since the time of the first Durga Puja held in Bengal to the present image in which the Goddess is worshipped. The facial structure of the Goddess has gone through a significant change over the years to give her a more humane look that resembles the beauty of a benevolent daughter visiting her parental home. It is said that when the first Durga Pujas were being held as a part of the status symbol of the babus, the potters of Kumortuli who were gradually learning the art of doll and idol making from craftsmen at Krishnanagar were given the task of creating the idols according to the priests' descriptions from the Puranic tales. Initially, the face of the Goddess had an inverted triangular shape with sharp, long drawn eyes that extended almost till the ears, squarish chin, peak like nose and little, thin lips. This is referred to as the Bangla style face of the Goddess and has been wiped out of fashion completely, except for perhaps very few instances. A glimpse of it can still be seen at the Shobhabazar Rajbari ( Chhoto Bari, at 33, Raja Nabakrishna Street).

Shobhabazar Rajbari (Chhoto Bari)

Later on, the facial structure of the Goddess was given a humane touch by making the face roundish, pointed chin and long, wide eyes. This is the widely accepted form of the Goddess' face that we see and worship till date. Some houses however follow an amalgamation of both the styles, perhaps marking the transition phase of the changing styles.

Srirampore Dey Bari

 Notice the facial structure of the Goddess at Srirampore Dey Bari. What I presume is that this is one of the transitional phases which is being followed till date. The triangular shape of the face is still intact as well as the sharp, long eyes reaching almost the ears, though not as much as before. Even the face appears somewhat roundish and heavier than before.

Goddess at Shibkrishna Dawn House

This is the most widely seen image of the Goddess, the form in which she is worshipped in almost all houses. The heavy, roundish face, the wide eyes with a streak of red makes the perfect blend of humane with the divine. At the same time, she is Mahishashurmardini, the slayer of the demons as well as the benevolent mother and daughter visiting her family like a mortal woman. 

Kolkatar Barir Pujo (Part 1)

Durga Pujo is not just a festival celebrated for a few days in the month of September or October ( Ashwin to be precise). The scale of its grandeur is higher than every other festival put together in Bengal. Lazy, homesick and nostalgic Bangalis wait for months to get their pujo holidays approved so that they can spend a few days basking in the glory of the Mother Goddess who too comes in for a holiday at her maternal home. Thus, the stage is set for a grand carnival where Gods and Goddesses as well as mortals rejoice together in the perfect mood for a holiday.

Hara Gouri idol at Bholanath Dham, Beadon Street

Yes, that's how we know Maa Durga. Even though she is widely worshipped in her Mahishashuramardini form, to us she is the daughter coming back to her maternal home with her children. Bangla folk lore refers to Her as Uma or Gouri coming down to earth from her heavenly abode. In some houses she is still worshipped as the benevolent giver, Gouri beside an idol of Shiva. Several aristocratic households of Kolkata have preserved the tradition of worshipping "Hara Gouri"- the couple along with their children. To them it is their daughter visiting them once a year. Weapons, violence and the entire concept of Mahishashura do not find a place there. Isn't it strange how one festival worshipping one Goddess has so many tales surrounding it and so many strains of beliefs co-existing?

















Kolkata witnesses two kinds of pujos- the Sarbojanin Durgotsav happening at almost every street and para and the lesser known traditional festivities happening at the age old aristocratic houses in the city. Reminding us of the lost grandeur of the babus of Kolkata some 200-300 years back, the pujas in these houses still continue to happen, though at a much lower scale. With lesser manpower and bigger pocket strains, some houses have discontinued the tradition of Durga Pujo while others are still holding on to them as much as they can. But these few houses clinging on to tradition and history make Kolkata one of the most interesting cities still alive with glimpses of the glorious past.

I got particularly interested with the bonedi barir pujos a few years back as the competition for theme based pandals had started to bore me. Being traditional at the core of my heart, I returned back to tradition to seek something new and what I found made me feel awed. I started reading up articles, write ups and interviews to know about the treasure house of rich cultural heritage lying in these few houses. There is no end to knowing and I have just began to place little steps ahead in search of such living instances of the magnificent past.

On the event of Rathyatra, the structure of the goddess is made. For many families, it marks the beginning of the grand celebration. The entire family of Maa Durga and her children are fit into an "ekchala" frame to signify their completeness as a family. She is adorned in "daaker saaj" that now mostly comes from Krishnanagar. Traditionally, at first there was only milky white "sholar saaj" adorning the goddesses worshipped in the households. Later, when Durga Pujo became a status symbol for the babus, the adornments for the goddess became grander. The white "shola" got covered in silver foil and colourful sequins for a dazzling aura. However, such silver foil and sequins were not in production in India during that time. They came by mail or "daak" from Germany and hence it came to be known as "daaker saaj" (embellishments through mail). The cost of such added grandeur was naturally very high since the raw materials needed to be imported from foreign lands. Thus, it could only be afforded by the richest families to uphold their status symbol. Nowadays, daaker saaj is the only form in which we see the idols at the bonedi houses. However, the saddest part is workers who create such magnificent "daaker saaj" for the goddess have drastically reduced in number and are mostly concentrated in Krishnanagar. With dark, long-drawn eyes, dazzling daaker saaj and traditional jewellery, the image of the goddess never fails to arouse faith in your heart. You can stare at her divine form for hours and for years and yet never have enough of it. Perhaps that's what divinity is.

It is not only the grand architecture of these age old houses or the long, checkered "thakurdalan" that gives an awe-inspiring look to the entire affair. The adherence to tradition and simplicity in which the grand festivity is carried out is where the real charm lies. There is nothing to sell, nothing to compete. It's all plain tradition, tales, history and art blending into one divine whole.

The series of blogs on "Kolkatar Barir Pujo" shall continue where I would like to share my little gained knowledge of the tales and history behind some of the best barir pujos of Kolkata, the transformation of the look of the goddess, the significance of the rituals followed and different ways in which she is adorned. Keep following if you like the first one of the series. 

Surobhito Antiseptic Cream Boroline

Bengalis grow up and live with the tags of being a sweet lover, a fish lover, a Rabindrasangeet lover, but an inseparable part of our existence is the green tube of Boroline sitting comfortably in every household. A Bengali household is literally incomplete without Boroline in ample quantity. It is strange how something as mundane as an antiseptic cream can become such a significant part of Bengali lifestyle. Perhaps, this is how we love to live, by seeking comfort in simple things.

No matter what skin problem you are facing, the advice from your mother would be, " ektu Boroline lagiye deye kome jabe." We being obedient sons and daughters of our mothers have always taken it as the biggest medicinal advice and no wonder we are eternally in love with this wonder cream. Remember the times when you came back home from school or afternoon games and complained of falling down and hurting yourself? The next scene would be your mother taking out a green tube of Boroline and applying the antiseptic dearly over your bruises with the assurance that they would vanish overnight. Every time she burnt her hand while cooking you saw her applying Boroline over it, saying, "Boroline dile kome jabe." The times when your father accidentally cut his cheek while shaving, it was always Boroline who came to rescue. Then came those happy times when essentials would be packed in suitcases and holdalls for a long summer vacation, and the tube of Boroline would be the most important thing to go in. Since then we have started believing in the magic of Boroline and that it could cure everything overnight. As we have grown up, it is a place of trust that we have lovingly bestowed upon this beloved antiseptic of ours while it has unfailingly cured our rashes, sores and infections.

Who knew back in 1929 that the newly launched antiseptic cream Boroline containing Boric acid, Zinc Oxide and Lanolin would live to be the constant companion of generations of Bengalis over the years? Gourmohan Dutta, a Bengali merchant was behind the launch of this brand which was destined to be warmly embraced and given a permanent place in the house. People, till date, swear by Boroline throughout the year, and especially in the winter season. Truly so, this works wonders over chapped lips, cracked heels, rough and dry skin, scars, sunburns and what not. Since 1929, the superb efficacy of Boroline has made it a family member in Bengali households. From infancy to old age, it is the ultimate form of skin care regime followed by all Bengali males and females.

It has become a legacy and a habit that we keep passing on to the next generations. Even today, Bengali mothers and grandmothers advise children to apply Boroline all over their skin before going to bed because it is a ritual they have been following since their childhood every night. The ad jingle that has kept on playing for years during commercial breaks has also earned the place of a fond memory in our psyche, so much so that whenever you hear the tune, you find yourself unknowingly smiling and humming, "surobhito antiseptic cream Boroline". The age old tune along with the mild fragrance act as a nostalgic bell reminding us of comfort zones like home and childhood.

Perhaps, it is just a mental bruise that it is incapable to cure. For everything else, the answer is always Boroline.