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.