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.