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.

Spring tidings

Source:- Internet

The ushering in of spring has been an inspiration for poets and authors across the world. Memories from the lanes of nostalgia visit and revisit us riding on the spring breeze. Spring is not just a season for us; it has served as a metaphor, an emotion for us since time immemorial. Time and again it has evoked connotations of love, passion, happiness and birth in nature. The winds of spring paint the landscapes in a variety of hues. The painted picture may be different in different parts of the world but the essence of spring is unmistakably the same.

If winter in the Western countries can be denoted by the pristine shade of white, the colour of spring in Bengal is a passionate shade of red along with a touch of yellow (Basanti to be precise). Once again, the shade of "basanti" is characteristic to Bangalis and only they know what romanticism is intrinsically mixed with that word. It is a shade of yellow that ignites the passion of spring in our minds, the purity of the basanti sarees worn by women on the morning of Saraswati Pujo or the smell of abir on Doljatra. Greenery makes way for itself after the dry leaves have turned the paths brown and orange and left the silhouetted trees barren against the bright sky. The newly sprouted foliage get complimented by the fiery red and yellow blooms of spring that light up the environment in ecstasy. It is the same note of exuberance and romanticism that nature sparks in our minds as well. 

For Bangalis, nature and seasons have a lot to do with festivals. Just like Durga Puja cannot be complete without the lotus and the kaash phool waving against the blue sky, Doljatra in Spring is incomplete without the Palash. In fact, the entire concept of Doljatra or Basanta Utsav is linked with the celebration of the bounty of nature. It is time to shed off all that has dried up with the winter and welcome the new blooms. It is time to colour your minds with the colour and essence of spring. The child in us wants the madness of Holi but the youth in us craves for the romanticism of the maddening beauty of spring colouring our minds red and yellow. 



On any given day in February or March, if you happen to take your eyes away from your smartphone and look out of the windows of the bus or car you are trapped in, you can definitely spot a wave of red against the bright blue sky, The blooms of  Palash, Shimul and Krishnachura leave no stone unturned to paint the city red in the stretches where trees exist.  The scene outside the window has the vibrancy of an oil painting, full of life with brushstrokes of multiple shades of red and tangerine.  Though most of these trees are native to the red soil regions of Bankura, Birbhum and Purulia where the landscape appears as if on fire, Kolkata also gets her share of decking up in colours of love. In fact, just like you cannot stop a tree from expanding its roots, you cannot hold back the force of spring even amidst concrete. Or else, why would a place like Esplanade suddenly have a tree that's bending under the weight of Shimul blooming in hundreds? 

Shimul

It just needs people to take up their heads from the snippets of 'breaking news' bombarding our smartphones and sanity together at each moment. Nature never fails to knock at our doors with the blushing hues of ecstasy; we fail to notice it. It is not that hard to find any remnant of Ashoka or Palash left in the city, waiting to smile at you at any quaint lane or corner like a long lost friend. Take a walk while the sweet breeze sweeps the streets red with the raining Krishnachura and even the bitterness of life won't seem that bad. That's what spring does to you. It colours you with poetry and passion to endure the harshness of everything in life. 

Palash 

Rudrapalash

Krishnachura
Source:- Internet

Dada

 'Dada', the very term brings to mind the ever graceful personality of Sourav Ganguly. I guess the entire world finds 'Dada' to be a synonym for him and Bengalis can never speak enough of their love, adulation, and pride for this man. But in Kolkata, every single male that you meet, except those in your family and friend circle, is your 'Dada'. No, not everyone is a cricketer with a personality to die for, but the term 'dada' gets applied to every male out here.

'Dada' is a reference made to your elder brother but the blood relation is not something that people really care about here. From your own elder male sibling to elder male cousins and distant cousins, and even a stranger on the streets, the common reference is always 'dada'. The conductor on the bus you travel is every commuter's dada; the sweet seller, the vegetable seller, and even the rickshaw puller are referred to as either 'bhai' (younger brother) by the elderly, or 'dada' by the not so elderly.

People would unanimously agree that Bengalis are filled to the brim with love and warmth. Even the worship of the goddess of wisdom and learning in spring or the excuse of anjali to Maa Durga brews love in us. Don't ask us the reason or the connection because that's how we function. Whether you love it or hate it, this tender side of ours makes us refer to all males, older than us by a few months or days even, presumably or in actuality, with an endearing 'dada' added as a suffix to their names. It is not just a reference or a typical habit but a note of warmth and respect bestowed upon a person. In fact, it is a sweet gesture that hints at the sweetness embedded in our culture and language.

So carrying forward this inherent tradition we add a 'dada' or a shorter 'da' at the end of the names of all male seniors at schools, colleges, or paras. So just like we have enough of mastuto, jyathtuto and khurtuto cousins ( all kinds of cousins that you can possibly have from your uncles and aunts on both sides), we have also concocted relationships like schooltuto dadas and paratuto dadas. These senior dadas are quite popular among the junior lot who look up to them for advice regarding anything and everything under the sun. Thus, from maths coaching to last minute examination tips, you know you need a dada for the best help. So even if a female junior develops a certain soft corner for one of these seniors, it is almost blasphemous to do away with the 'dada' right away at that moment. You are only allowed to strike it off when the same feeling is reciprocated and things start building up. Once again, you must not question why the unwritten rule expects you to continue referring to a senior male as dada even when we have feelings for him. Bengali girls have fallen time and again for their school, college, and neighbourhood seniors and referred to them endearingly with 'dada' suffixed at the end of their names. To be true, Bengali men also have over the ages secretly cherished the charming reference from the juniors they have set their hearts upon.

Then there are iconic heroes and characters too who come in the catalogue of popular dadas. Neither do we know them, nor have we met them ever, but this is how we choose to show our love and admiration. Therefore Salil Chowdhury becomes Salilda for his admirers, R.D. Burman becomes Panchamda, Bappi Lahiri gets the name Bappi da and Mithun Chakrabarty is everybody's Mithunda. Even after 36 years of his death, Supriya Devi still chooses to refer to Uttam Kumar as 'aapnader dada' probably because of the same reason. This brotherly relationship with the masses is a sign of true adulation from the audience that you get only when you are born with immense luck and talent. It is no less than an accolade that any artist would be honoured to receive. It can be for this reason that the makers of characters like Feluda, Tenida or Ghonada chose the suffix 'da' after the nicknames of their characters. Perhaps they felt that this is the only way to make the characters more familiar with the readers and make them seem like real life people living next door. Thus Felu Mitter is referred to with love and admiration as Feluda, not just by his cousin Topshe but by each and every reader, irrespective of age.

Even if you disapprove of this as nyakamo or adikkhyeta (embarrassingly fulsome), you cannot ignore that the word 'dada' is inextricable from our language and life, and this is only one of the million facets of Bengali life. If you cannot take it in the positive spirit and understand the warmth and purity of the emotions involved, the loss is entirely yours.