The Ratha Yatra - Rituals and Significance

The Ratha Yatra or Car Festival Of Lord Jagannath at Puri is the most famous and the most spectacular festival which attracts countless pilgrims from all over India and also from abroad. This festival takes place in Asadha Sukla Dwitiya when the images of Lord Jagannath, Lord Balabhadra, Devi Subhadra and Sudarshana are taken in a grand procession on three separate chariots along the Badadanda from Shrimandira to Gundicha Mandira.

The whole cycle of the Car Festival consists of the following : (i) The Bathing Festival or Snana Yatra, (ii) Anasara, (iii) Netra Utsab, (iv) Naba Jaubana Darsana, (v) The ceremonial procession of images which is otherwise known as Pahandi, (vi) Sweeping of the floor of the chariots by golden broom by Gajapati maharaja of Puri. It is also known as Chherapanhara, (vii) Stay of the Deities in Gundicha Ghar for 7 days, (viii) The return journey of Gods which is known as Bahuda Yatra and (ix) The final return of lord Jagannath to the temple.

As stated earlier, the Ratha Yatra takes place in the Second day of bright fortnight in the month of Asadha. But the actual preparation starts from the Magha Saptami with the cutting of trees in distant Daspalla and nearby areas for providing the wood necessary for construction of chariots. On the third day of the bright fortnight of Baisakh, i.e. Akshaya Trutiya, starts the auspicious construction of chariots on the Grand Road of Puri. It is indeed a difficult task to construct the Chariots within the short span of 58 days.

A glimpse of Lord Jagannatha on the chariot is considered to be very auspicious and saints, poets and scriptures have repeatedly glorified the sanctity of this special festival.The sanctity of the festival is such that even a touch of the chariot or even the ropes with which these are pulled is considered enough to confer the results of several pious deeds or penance for ages. In fact, there is a famous Oriya song which says that on this occasion, the chariot, the wheels, the grand avenue all become one with Lord Jagannatha himself

The Chariots

The three chariots of Balabhadra, Subhadra and Jagannatha are newly constructed every year with wood of specified trees like phassi, dhausa, etc. customarily brought from the ex-princely state of Dasapalla, by a specialist team of carpenters who have hereditary rights and privilege for the same. The logs are traditionally set afloat as rafts in the river Mahanadi. These are collected near Puri and then transported by road.

The three chariots, newly constructed every year and decorated as per the unique scheme prescribed and followed for centuries stand on the Bada Danda, the Grand Avenue. Covered with a bright canopies made of stripes of red cloth combined with those of black, yellow and blue colours, the huge chariots are lined across the wide avenue right in front of the majestic temple close to its eastern entrance, also known as the Sinhadwara or the Lion’s Gate.

Lord Jagannatha’s Chariot is called Nandighosa. It is forty-five feet high and forty-five feet square at the wheel level. It has sixteen wheels, each of seven feet diameters, and is decked with a cover made of red and yellow cloth. Lord Jagannatha is identified with Krishna who is also known as Pitambara, the one attired in golden yellow robes and hence the distinguishing yellow stripes on the canopy of this chariot.

The Chariot of Lord Balabhadra, called the Taladhwaja, the one with the Palm Tree on its flag, has fourteen wheels, each of seven feet diameters and is covered with red and blue cloth. Its height is forty-four feet.

The Chariot of Subhadra, known as Darpadalana, literally trampler of pride, is forty-three feet high with twelve wheels, each of seven feet diameters. This Chariot is decked with a covering of red and black cloth, black being traditionally associated with Shakti and the Mother goddess.

Around each of the chariots are nine Parsva devatas, painted wooden images representing different deities on the chariots’ sides. Each of the chariots is attached with four horses. These are of different colours – white ones for Balabhadra, dark ones for Jagannatha and red ones for Subhadra. Each chariot has a charioteer called Sarathi. The three charioteers attached to the chariots of Jagannatha, Balabhadra and Subhadra respectively are Matali, Daruka and Arjuna.

Chandan Jatra, the Sandalwood Paste Festival

The construction of the chariots starts on Akshaya Trutiya, the third day of the bright fortnight of Vaisakha, with ritual fire worship. This takes place in front of the palace of the King of Puri and opposite the main office of the Puri temple. On this day, the new agricultural season starts and farmers start ploughing their fields. This day also marks the beginning of the summer festival of the deities, also known as the sandalwood festival or Chandan Jatra, which lasts for three weeks. In this festival, the representative images of the presiding deities are taken out in colourful processions and given a ceremonial boat ride in the Narendra tank everyday. In an interesting demonstration of the assimilative character of the Jagannatha cult, Madanmohana and Rama Krishna, representing Jagannatha & Balabhadra partake in the festival with the representatives' images of the presiding deities of five main Shiva temples of Puri. These are curiously known as Pancha Pandava, the five brothers of the Mahabharata story. Later the deities have a ritual bath in a small temple in the middle of the tank, in stone tubs filled with water, sandalwood paste, scents and flowers.

Snana Jatra

This sandalwood festival culminates in the Snana Jatra, the Bathing Festival on the full moon day of the month of Jestha. On this day, the presiding deities descend from their seats on an elevated platform in the sanctum sanctorum, the bejewelled throne. They are bathed in 108 pots of water brought from the suna kua, the golden well and assume the elephant form on the special bathing platform, close to the Eastern boundary wall of the temple. From that day the deities remain in symbolic and ritual convalescence for about two weeks. They are barred from view of the ordinary devotees. Only three special patta chitras, traditional Orissan paintings of natural colours on cloth stiffened with starch, known as Anasara Pattis, are strung on a bamboo screen hiding the deities from public view, can be seen by the public. During this period, the deities are given only roots, leaves, berries and fruits to cure them from their indisposition. This ritual is a reminder of the strong tribal elements in the genesis and evolution of the Jagannatha cult. The progeny of Lalita, daughter of the original tribal worshipper Biswabasu, chieftain of hunters, and the Brahmin priest Vidyapati, are known as daitapatis or daitas. They have almost exclusive privilege of serving the Lord during the convalescence and through the entire period of Ratha Jatra or the Festival of Chariots.

Nava Jaubana - the Renewal of Youth

The day immediately preceding the ceremonial stepping out of the temple precincts by the deities marks the formal ending of the period of sickness. The deities are given a fresh coat of paint and finally, as per the traditions for preparing of divine icons, the eyes are painted in a ritual called netrostava. The deities are now fully recovered, and their reappearance for public viewing is known as the Nava Jaubana Darshana, a celebration of the renewal of youth. Hundreds of thousands of devotees deprived of the sight of their dearest dark darling throng the temple to participate in this festival, which typically begins in the afternoon and lasts late into the night.

The Ratha Yatra

Pahandi

The spectacular procession by which deities are brought on the chariot is knwon as Pahandi. It is the most colourful show of the car Festival held tightly by the arms by Daitapatis and pulled from behind and the front alternatively by the ropes tied firmly to the body, each image is made to jump from place to place and advance. It worthwhile to mention here that no such emotion are evoked among the crowds like Jagannath. When Balabhadra is carried in Pahandi to the Chariot, Subhadra and Sudarshana are just carried by the Daitapatis. Pahandi - literally, going forward in a step by step movement to the accompaniment of several devotees beating the ghanta, kahali and telingi baja.

The ghanta is a type of a gong, shaped like a flattish hollow bowl, and is made of kamsa, bell metal, an alloy of brass and zinc. A small baton like stick made of a hard but flexible piece of cane is used to beat the simple musical instrument. The ghanta is made by traditional artisan groups – kansaris, who live in villages not far from Puri. Kahali is a type of trumpet while the telingi baja is a simple drum, a percussion instrument played on both sides with canes.

The famous saint poet Salabega has immortalised the feelings of the devotees as they wait every year for fulfillment of their desire to see their dear dark darling, Kalia Dhana seated on his resplendent Chariot – Nandi Ghosa. Salabega had gone on pilgrimage and had fallen sick. He couldn’t return in time to see his darling Lord on the chariots and cried out in anguish from 750 miles away. He prayed to the Lord to tarry a while on the bada danda, the Grand Avenue till he could reach back to see the Lord. The compassionate Lord stayed on his chariot which could not be moved an inch forward till Salabega reached Puri and joined the devotees in prayer.

As Lord Jagannatha and Lord Balabhadra are quite heavy, a wooden cross is fixed to their backs and thick silken ropes are tied round their heads and waists for their ceremonial procession - a ritual known as Senapata lagi. The deities during the anasara period are actually placed in the audience hall – Jagamohana and not in the sanctum – or deul on the elevated platform, their normal seat. From there the deities are moved first on to the sata pahacha or seven steps, outside the northern door of the natamandapa or the dancing hall. During the outward movement from the temple to the chariots, the procession of the deities is in a row and is known as dhadi pahandi or a group movement. All the deities move simultaneously. At first Sudarshana, the celestial wheel of Krishna-Vishnu, is brought out and placed in the chariot of Subhadra followed by Balabhadra, Subhadra and finally Jagannatha.

The blowing of kahali, the clang of the ghanta, and the beating of the telingi baja in a unique rhythmic movement slowly rising to a crescendo herald the beginning of their movement.

The two brothers, Balabhadra and Jagannatha are decorated with large, elaborate floral decorations called tahia. These are like huge crowns or tiara but are fixed at the back of their heads. These are made of a variety of white, orange and lotus flowers, leaves and pieces of cork fixed to a semi – circular heart shaped bamboo frame. The two brothers decorated with the tahias are carried forward in a slow, swaying movement, giving the illusion of a huge elephant gracefully and gently stepping out. The privilege of providing these tahias is with the Raghavadasa matha- a monastery associated with the temple. Hundreds and thousands of devotees eagerly await a glimpse of the deities. As the deities step out of the main entrance of the temple, the Sinhadwara – Lion’s Gate, the teeming devotees, bhaktas go wild with ecstasy, chanting the name of the Lord in a loud chorus. The chant Haribol – literally means to utter the name of Hari, the Lord.

First comes Sudarshana who takes its place on the chariot of Subhadra. He is followed by Lord Balabhadra. Much smaller, Subhadra, the yellow-golden coloured younger sister of Jagannatha and Balabhadra, follows soon after. Short and slim, in contrast to her two brothers and much lighter, the lady is carried on the shoulders in a supine state. Her movement is much faster and the daitas carrying her almost rush through the process in a running movement. At last comes Lord Jagannatha, darling of the devotees, in a regal procession. Dancers perform traditional Odissi dance to the accompaniment of mardala and mridanga, traditional Orissan percussion instruments, as the procession moves forward. Devotees also perform sankirtan, ritual group chanting of the names of Lords with rhythmic jumping movements.

Chhera Pahanra - Emperor as Sweeper of the Chariots

The second phase of the festival is an equally colourful and elaborate ritual is known as Chhera Pahanra. The Raja, King of Puri, Gajapati Divya Singha Deva is informed of the deities having taken their places on the chariots through a messenger specially deputed by the temple officials. The young, handsome King, clad in spotless white, carried in a silver plated palanquin leaves his palace and comes in a small procession on the grand avenue led by a caparisoned elephant. He climbs the chariots one by one. He first offers his prayers to the deity seated on the chariot. He then cleans the platforms with a golden broom, sprinkling flowers and fragrant water on the surface of the chariot.

It presupposes that no labour is detestable if it is required for social purpose.The ritual goes back several hundred years and is a symbol of the subjugation of the temporal to the spiritual. The emperors of Orissa, beginning with the valiant Anantvarman Chodagangadeva in the 12th century, had declared themselves to be the rauta, servant of Lord Jagannatha and ruled the land as His representative. The ritual is also a public demonstration of the unique philosophy of integration and unity symbolised by Lord Jagannatha. There is no distinction of caste, creed or any other barrier during the entire festivities. After cleansing of the chariots by the Raja and his departure to the palace, the wooden horses, brown, black and white, are fixed to the three chariots. Thick ropes made of coconut fibre and 250 feet long are tied to the individual chariots.

The Pulling of Chariots

Then comes the most exciting part of Ratha Yatra is the pulling of chariots by thousands of people without distinction of caste, colour, sex or religion. The chariot of Lord Balabhadra is pulled first followed by that of goddess Subhadra. At last the grand moment and the climax of the day’s celebration is reached when the chariot of Lord Jagannatha, Nandighosha starts its spectacular journey to the Gundicha temple. Thousands of devotees who patiently wait the whole day for this blessed moment are ecstatic with joy and pull the chariots with a sense of fulfillment.

In ancient times, the Ratha Yatra of Puri employed six chariots as compared to the three at present times. A river once flowed between the Gundicha House and the Jagannatha temple. Three chariots stayed in readiness on the other side of the river to receive the deities from the three chariots that transported them from the main temple.

Bahuda, the Return Festival

There, in their Garden House, adapa mandapa, also known as their place of birth, the deities stay for seven days. On the ninth day of the festival, Bahuda Jatra, the grand return journey takes place. On the way back they stop for a short while and partake of poda pitha, a type of cake made of rice, lentils, jaggery and coconut, offered by their aunt, mausima. On reaching back the main temple, the deities, on their chariots, don the golden attire or the suna besa, with hands, arms and crown made of solid gold. They are also offered sweet drinks, adhara pana, on huge cylindrical earthen pots reaching up to their lips. They are taken down from the chariots in a ritual descent to enter the temple.

The temple gate is however shut upon Lord Jagannatha by his celestial consort Laxmi. Her anger, jealousy and frustration is articulated by her companions, represented by a group of servitors from inside. Another group representing Lord Jagannatha respond with entreaties and endearments. After re-enacting this drama of daily domestic tiffs of mere mortals, the celestial couple finally make up, and the temple door is opened and the deities return to their bejeweled throne, the ratna sinhasana.

Suna besa and Bada Ekadasi

On the next day, i.e. Bada Ekadasi, the Deities are attired in costumes of Glittering gold and are worshipped by thousand of devotees. This form of the deities is known as Suna Vesha. One day after Ekadasi, Lord Jagannath, Lord Balabhadra, GoddessSubhadra and Sudarshana return to the temple with the usual fanfare and in the Pahandi Style. Thus ends the Ratha Yatra, the grand festival of the Chariots.

Twelve Yatras of Lord Jagannath

Ratha Yatra in a week's time, the adobe of Shri Jagannath, Shrikhetra must be in full swing of preparation for the most grand festival where the Lord comes out to street to meet the devotees. When it comes to uniqueness Shri Jagannath is comparable to none.

Amidst hundreds of rites and rituals and festivals in the Jagannath Temple during the whole year only twelve festivals are considered to be most important. Those are observed one after another. Twelve months are fixed for twelve yatras

1) In the month of Jyestha,the marriage ceremony of Sri Jagannath takes place on Ekadasi day with Goddess Laxmi who writes a love letter expresing her desire for holy union with Lord. Then begins the ceremony and on fullmoon day,

2)the grand bathing ceremony Dwadas Yatras of Sri Jagannath starts on Snana Vedi. In Ganesh Vesha, the Lords appear very attractive and Anabasar day begins for fifteen days.

3) & 4) In the month of Ashadha - Ratha and Bahuda Yatras are celebrated. This Yatra (festival) is the greatest and most important among all festivals. It attracts piligrims from all over the world. In Skanda Purana, the festival has been described as Mohavedi Mohoschhaba Yatra. It was the pious wish and order of Supreme God to king Indradyumna to arrange this festival in every year and to drive Him to holy land of Sri Nrusingha. In three chariots namely Taladhwaja for God Balabhadra, Devidalana for Goddess Subhadra and Nandighosa for God Sri Jagannath, all deities are carried. In Devidalana, the Sudarsan wheel designed as a log of wood is seated on Her left side. The movable deities Sri Balaram and Srikrishna in Taladhwaja and Sri Madanmohan dev in Nandighosa are also carried. All sects join in this festival. God Jagannath is Supreme Bramhan and Purusottama. The greatest psychic impact i.e. sense of unity, integrity and brotherhood bind all piligrims into one entity. The social life and spiritual life become one and same. After Bahuda Yatra, when deities are carried into the Temple in Pahandi, the last door closing ceremony is observed in inner sanction of the main Temple. The door opens by the order of Laxmi after getting satisfactory nine answers from Sri Jagannath. In last answer, the social status and freedom of ladies are recognised by Sri Jagannath.

5)In the month of Shravan - the Golden Pendants, studded with diamond, sapphire, emerald, blood stone, and blue gem etc. are placed on foreheads of the deities. This is called Chitalagi and the birthday ceremony of Balabhadra is also observed.

6)In Bhadrava - birthday of Srikrishna is observed. The Yatra begins from birth till killing of Kansa Asura. During the entire period, Nandoatchhab, Kolibika, Kaliyadalan (Defeat of Blacksnake by Srikrishna), Killing of eight demons (generals of king Kansa), stealing game and Kansa's death etc. are observed for nineteen days. In these rites and rituals, the local inhabitants of ancient streets (Sahis) take part directly. They use to hold meetings and decide democratically as to who will act as a demon. One person from each Sahi on each appointed day is dressed and decorated as a demon to display his game and lila as per custom and tradition. The movable representative deity of Sri Jagannath i.e. Sri Madan Mohan after being permitted by Lord Jagannath takes part in this festival.

7) In the month of Aswina - Durga puja festival is celebrated for sixteen days. Sri Madhab otherwise known Balapurusottam and Goddess Durga together get united for the entire period and Durgamadhab Rath Yatra is observed for nine days and golden Rajavesha is observed on Dasahara day.

8) In the month of Kartika a special Bhog called Balabhog is offered and different Veshas and decorations are made. Among those Radhadamodara vesha continues from Dasahar Ekadasi day to next tenth day. After newmoon till full moon on every monday Harihara vesha is observed for deity Sri Balabhadra. Harihara vesha make the Lord half black and half white. Sri Jagannath is decorated and dressed in Laxminarayana vesha which begins from Dasahara Ekadasi day. On twelfth day Baman or Bankachuda vesha, on thirteenth day Tribikram or Dalikia vesha and on fourteenth day Laxmi Nrushingha vesha are performed and celebrated. In the month of Margasira - Dipa Dana ceremony and Pitrushradha are observed. A tree is artistically erected on the ground in inner sactum below Ratnasinghasan with sundried rice. After it is purified, ghee earthen lamps (dipa) are placed on different portions of said tree and then other customary rituals follow. The outer part of temple is also lightened with earthen lamps (Dipa) and prayer is offered to Almighty for restoration of peace, security and prosperity of the King and his kingdom. In this month Ghodolagi begins. It means covering of body with clothes to protect from winter.

9)In the month of Pausa, Pahilibhog ceremony is observed throughout the month. A special cake is prepared out of blackgram wheat flour and cow's ghee. On full moon day, the deities are decorated with Golden Rajavesha and coronation ceremony is also observed. On this day Sri Rama's coronation ceremony was celebrated at Ayodhya in the Ramayana days. In the month of Magha, Padma vesha and Gajauddharana vesha are performed.

10) In Falguna the famous Dola festival of the Lords begins. After getting permission, Sri Saraswati, Sri Laxmi, Sri Dolagovind and Madanmohan come to Dolavedi (alter) where the deities play with red colour powder i.e. called Fagu or Abira.

11)In the month of Chaitra, the birthday ceremony of Sri Rama is observed. The movable representative deity Sri Rama after getting permission from Sri Jagannath takes part in such rites and rituals. All activities and plays from his childhood till killing of the demon king Ravan are customarily and traditionally observed. In this cultural yatra, there comes active participation of local inhabitants.

12)In Baisakha begins the Chaitra Gundicha yatra i.e. Chandan Festival for 42 days. Out of these days, only twentyone days are observed outside the temple in the sacred Narendra Tank. Two decorated boats are used for the boating ceremony. In the first boat, Sri Balaram and Srikrishna and five famous Sivas of Srikhetra such as Jameswar, Lokanath, Markandeswar, Kapalamochan and Nilakantheswar use to sit. In the second boat Sri Madanmohan Dev, representative of Sri Jagannath alongwith mother Laxmi and Saraswati sits together. After boating of first phase, deities are carried to a small temple inside the Tank. Inside the temple, there is a small sweet scented water tank. Together Sri Madanmohan, Laxmi and Saraswati use to have secret play and enjoyment for some hours. None is permitted to see this bathing ceremony. The doors remain closed under lock and key. Other deities use to take bath in different tanks openly. On the beginning day of boating ceremony, the Ratha preparation is being permitted by the Lords with performance of rites and rituals. Thus the above twelve festivals are observed for the Lords in twelve months. Harmony and balance have been maintained in all rites and rituals and in all festivals in order to establish a sense of unity among all castes, sects and religious faiths. Lord Jagannath is Purusottama. This has been well narrated in the first line of Bhismadeva's answer to the six questions of Judhisthira as mentioned in Visnusahasranama. He has been addressed as Atmayoni and Swayamjata which mean that Almighty Purusottama has no mother. He himself is the Creator and Destroyer, and Operator as mother. Thus he is both mother and father. He is both thesis and synthesis. The cultural values are unity, uniformity and universality. Lord Balabhadra and Goddess Subhadra are inseparable part of Sri Jagannath. That is why He is the main presiding deity recognised and worshipped by all sects, and devotees of all religious faiths. His Bhoga mahaprasad is world famous. It has established socialism by derecognising the casteism, colour feeling and creed and special privilege. Nowhere in the religious arena ever exists such culture which is unique and incomparable.

Jagannath beyond religion

Lord jagannath is considered as a Lord symbolizing cosmic zero.,being omnipotent, omnipresent and omniscient, the trinity i.e Jagannath, Balabhadra Black, white and yellow being the colour of human races and symbolizes three human qualities of Hindu philosophy Sattwa, Tama and Raja. Jagannath cult knows no caste barrier, no community and no religion. It stands for unity, equality, fraternity and brotherhood. In fact the caravan of unity of human race marches ahead during the car festival of Lord Jagannath. It is an epitome of international integration that lays support to the concept of one world.
People of all religious faiths and beliefs find their ideas and concepts embedded in the Jagannath cult. The prophets and saints who have drawn their heterogeneous sects starting from, Adiguru Sankaracharyas, Sikh Guru Nanak, Baishnabite Sri Chaitanya Deva, devotee of Ganesh Ganapati Bhatta the Muslim turned Hindu devotee Harridas and Kabir, the Muslim devotee and poet .Salbeg, the Christian devotee Captain Beat, etc. found Lord Jagannath so dear and near to them. The stories of Dasia Bouri, Hadi Das, and Bandhu Mohanty lead an atheist to believe in the supra-mental and celestial precepts of Lord Jagannath.
A much celebrated devotee of Jagannath was Salabega who inspite of being a Muslim was very dear to the Lord. He has composed a number of poems popularly known as 'bhajans' and 'jananas' conveying the profoundness of his devotion. From childhood he heard about Lord Jagannath from his mother who happened to be a Hindu. After the demise of his mother, Salabega at one time suffered from a serious disease and there was no hope for him to live on. While he was completely bedridden, he heard someone singing a bhajan from a distance and imagined that only Jagannath who is the 'Lord of theUniverse ' can cure him. So he began praying and eventually recovered from illness. Since then he became a devotee of Lord Jagannath and for that reason he was discarded from his family and thrown away from his house. Then he set out roaming here and there, singing songs in the name of Jagannath all the time. Once he was receding from Vrindavan and got late to witness the Ratha Yatra at Puri. He prayed tothe Lord to wait for him till he reached the 'Bada Danda' so that he would not leave out the chance of watching him. On reaching 'Bada Danda' he was refused permission to seethe Lord as he was a Muslim. So he waited at a place called 'Balagandi' to have a glimpse of the Lord as his chariot passes from that point. 'Nandighosha' the chariot of Lord Jagannath passed, but he was still not able to see the lord and started weeping out of sheer helplessness. All of a sudden the chariot stopped and did not move an inch from there as the Lord himself waited for Salabega. From there he watched his Lord merrily and thereafter everything was acknowledged to the priests. This brought him all the respects of a great devotee which he rightfully deserved. As he was a Muslim, after death he was buried at 'Balagandi' where he had seen Lord Jagannath. Even today a small monument stands there in the commemoration of that episode and every year during the Ratha Yatra the chariot of Lord Jagannath stops there for a while in memory of the affectionate relationship shared by the devotee and his Lord.

Legend says that Guru Nanak arrived at Puri with his disciple 'Mardana' a Muslim follower. When Guru Nanak reached Puri beach in the evening near the present Swargadwar, he sat down in meditation.Mardana was hungry but as he was a Muslim he was not allowed to enter the Jagannath temple for Mahaprasad. So the disciple blamed Nanak for selecting such a place where they had to face starvation.Suddenly at that time somebody appeared and offered food and drink in golden utensils. In the early hours of morning however there was a commotion in the Jagannath temple because the gold utensils of the Lord were missing.The news was conveyed to the Maharaja of Puri. Guru Nanak appeared to the Raja in his dream that night. So when the Raja heard about the theft, he smiled and marched towards sea-beach in a procession to welcome the saint.The Raja found the saint in meditation and the gold utensils were lying close by. Then the king and his party gave a hearty reception to the saint who had come to Puri to pay his homage to Lord Jagannath.Nanak was invited to visit the temple at the time of Arati in the evening.Once when his disciples were thirsty but had no water to drink, he requested them to dig a hole in the sandy surface of sea-beach and to their surprise sweet water came out. A well was constructed around this hole. Near that well a Gurudwara called Bauli Saheb came into existence. This is now called 'Baulimath'. This is a sacred place of pilgrimage for the Sikhs.


Eminent scholars have described about the relation of Jagannath culture with Jainism, Buddhism and other cults. In incient times Jainism spread all over Kalinga. Mahapadma Nanda, the king of Magadha conquered Kalinga and took away "Kalinga Jeena" image to Magadha. Pandit Nilakantha Das argued that this Jeena image is actually that of Sri Jagannath. According to him the word Jagannath is derived from Jeenanath. He also wrote that "Jagannath is primarily a Jaina institution". The relation in between Jainsim and Sri Jagannath Culture is quite interesting. Jain philosophers and devotees have also compared Tri Ratna of Jainism with Sri Jagannath, Balabhadra and Subhadra. A prominent, historian late Kedar Nath Mahapatra also suppported this view. Some scholars advocate the theory of the Jaina origin of Jagannath. There is great similarity between the images of Nilamadhava and Jaina Tri Ratna. Jainism was very much popular in Orissa, and archaelogical remains and Jaina images recovered from various places of Orissa prove its importance.Hatigumpha inscription of Kharavela highlights the worship of "Adijina" in Kalinga.This worship was done at "Pithunda".According to some scholars Pithunda is identifiable with Puri. Nilakantha Das argued that the Mahaprasad of Jagannath is Kaivalya and this is a derivative of the Kaivalya or the concept of salvation of the Jainas.

Mahayan Buddhists propagated that the image of Lord Jagannath was really that of the Buddha. Tri Ratna of Buddhism Buddha, Dharma and Sangha are compared with Jagannath, Balabhadra and Subhadra. Scholars argues that the figures of Jagannath, Balabhadra and Subhadra are the three devotional repesentations of the Buddhist symbol of Triratna "Buddha, Dharma and Sangha". Brahma that is placed at the navel of Jagannath is the nothing but the Buddhist tooth relic that was brought from Kusi nagar to Kalinga. Buddhists believe in worship of physical relics after death. The annual bathing ceremony (Snana Jatra) and the car festival (Ratha Jatra) are Buddhist practices. According to chinese buddhist scholar Chelitola was " the present town of Puri." Ratha Jatra of Jagannath resembles the procession of the Buddhist image, as has been written by Fa- Hian. Buddhism does not believe in any class or caste distinction. During Ratha Jatra and other festivities, caste distinction is not found in the Jagannath temple. The term Jagannath was applied to Adi Buddha by Raja Indrabhuti of Sambal in his work " Gyana Siddhi ". Adi Buddha is even now called Jagannath in Nepalese Buddhism. Assimilation of Buddhism into Brah minical Hinduism book place after Buddha was taken in as the 9th Hindu Avatara Incarnation of Lord Visnu) as shown on the panel of ten incarnations (Dasavatara) inside the Jagannath temple at Puri. After the decline of Buddhism Jagannath might have become New Buddha. Jagannath cult did not belong to any particular sect. It is the point of assimilation of all sects and religions. It can be said that the cult of Jagannath is not just a faith, but a way of life that awakens the innerself to attain celestial happiness.


Eminent historian Dr. Harekrushna Mahtab has pointed out that Lord Jagannath was originally the embodiment of Buddha. It is known from history that Buddhism had a strong foothold in Orissa from the pre-Christian era. After the conquest of Kalinga by Ashok in 261 B.C., Buddhism must have got an extra impetus under royal patronage. It is known from the Travel Accounts of the famous Chinese traveller Hiuen Tsang that Mahayana form of Buddhism flourished in Orissa in the 7th century A.D. The 'Brahman' which is believed to be inside the wooden body of Lord Jagannath is nothing but the tooth of Buddha. According to Dr. Mahtab the Savaras of Orissa were converted to Buddhism during the reign of Ashoka and worshipped the Triratna symbol. Buddha is considered as an Avatara of Vishnu. Jagannath is also considered to be an Avatara of Vishnu Gradually Buddhism lost itself in Vaishnavism. The absence of caste distinction in the temple of Jagannath especially in partaking the Mahaprasad, the Car Festival and bathing festival (Snanayatra) of the Lord are ascribed to Buddhist influence. Pandit Nilakantha Das thinks that the three images of Jagannath, Subhadra and Balabhadra represent the Jaina Trinity. Kedarnath Mohapatra and Pandit Binayak Mishra have tried to identify Indradyumna, the legendary propounder of the Jagannath Worship at Puri, with Kharavela, the great Jaina emperor of Kalinga. Sudarsan is the Jaina symbol of Dharmachakra and Kaivalya (liberation), a term so exclusively common in Jagannath has been derived from Jaina sources. Some scholars regard Jagannath as Daru Brahma, godhead manifested in a wooden image. Pandit Nilakantha Das is of the opinion that in the Vedic literature of Rigveda (x-81-4) the word 'wood' (Daru) is used to indicate the material of which the universe (Jagat) is made of. Scholar M.M. Ganguly points out that Buddhim is an off- shoot of the Hindu religion and the idea of the Triratna has been taken from the parent stock. It is maintained by some scholars that Jagannath, Subhadra and Balabhadra were originally worshipped by the primitive Savaras. Oriya texts like Darubrahma Gita of Jagannath Das and Deulatola of Nilambar Das suggest the tribal origin of the Cult. The Daitapatis (custodians of the deity) claim that they are the descendents from the Brahmin Vidyapati through the Savara mother Lalita and the deities are left to their sole care during the Snana Yatra and the car festival. They also observe the funeral rites of Jagannath during Nabakalebara. Puri, otherwise known as Purusottam Khetra is not only a sacred place for the Vaishnavas but is also equally sacred for the Saivas, Sauras, Saktas, Ganapatyas and even for the Buddhists and the Jainas. It is interesting to be noted that Jagannath Cult is responsible to combine people of different faiths, castes and creeds under one common bond of unity. For Sakta Tantriks Jagannath is Bhairava and Vimala is Bhairavi. In the month of Asvina, during the Durga Puja, animal sacrifice is made before goddess Vimala which is the only of its kind in the otherwise bloodless rituals performed in the temple. The food offerings made to Jagannath can only be considered Mahaprasad after they are re-offered to goddess Vimala. The propagation of Vaishnavism by Ramanuja in the early part of the 12th century A.D. gave a fresh impetus to Vaishnavism in Orissa. The Ganga monarch Chodaganga Deva seems to have come under the influence of Ramanuja. Chodaganga was a Saiva and but was called as both Parama Maheswara and Parama Vaishnava. He was also a devotee of Vishnu. The Ganga period witnessed the recognition of Jagannath as the patron deity of the royal family. But the Vaishnavism in Orissa reached its climax in the 16th century. Purusottam Deva, the son and successor of the Suryavamsi monarch Kapilendra Deva was greatly devoted to Lord Jagannath for singing whose glory he wrote Abhinava Gitagovindam. According to Madalapanji, Lord Jagannath helped Purusottam Deva to conquer Kanchi and marry Padmavati, the daughter of Saluva Narasimha, the ruler of Kanchi. Gajapati Prataprudra's reign was marked with the visit of Sri Chaitanya to Puri. Prataprudra became an ardent devotee of Sri Chaitanya and the name of Radha-Krishna was a panacea to his maladies. Sri Chaitanya popularized Radha Krishna Cult through kirtan in the nook and corner of Orissa and Jagannath came to be regarded primarily as a Vaishnavite deity. During this period the Panchasakha, namely Balaram Das, Jagannath Das, Ananta Das, Achyutananda Das and Yasobanta Das, through their immortal creations popularized Vaishnavism in Orissa. Inspite of their individual predilection with Sunya Yoga or the Cult of Bhakti, these poets sing the songs of Jagannath in one voice and are mainly responsible for making the Cult of Jagannath the mass religion of Orissa.

Thus, the cult of Jagannath is an epitome of divergent religious creeds and schools of philosophy that prevailed in India at different periods of her long cultural history. In the historic process of adjustment, Jagannath has assimilated strange contradictions in a manner that is most amazing in the history of religious thoughts

chaka akhi , mahabahu, neelamadhaba, bhabagrahi and many more

Lord Jagannath is loved and revered by devotees in the farthest reaches of the world, and He is known by so many different worshipable Names.

From time immemorial, Puri has been the most important centre of Vishnu worship. Its presiding deity is called Purusottam. He is otherwise known as Jagannath. Etymologically, the word Jagannath means the Lord of the Universe. According to legendary sources, Lord Jagannath was originally worshipped in the form of "Neelamadhab" by a tribal (Sabar) known as Biswabasu. In course of time, the cult of Jagannath took an Arayanised form and various major faiths like Saivism, Saktism, Vaishnavism, Jainism and Buddhism have been assimilated into this cult. In Jagannath temple, Jagannath is worshipped as Purusottam or Vishnu, Balabhadra as Siva, and Devi Subhadra as Adyasakti Durga. Finally, the fourth one Sudarsan Chakra symbolizing the wheel of Sun's chariot attracts the Sauras to the Centre.

Scholars like Nilakantha Das are of the opinion that the three main images of Jagannath,
Balabhadra and Subhadra represent Jain Trinity of Samyak Jnana, Samyak Chinta and Samyak Drusti. Pandit Nilakantha Das and Dr. Artaballav Mohanty have even gone to the extent of saying that Jagannath is the image of Rushavnath. Jain dictionary also tells us that Jagannath is another name of Jeeneswar or Rushavnath.

On the other hand, Scholars like Dr. Harekrushna Mahatab are of the opinion that the three images such as Lord Jagannath, Lord Balabhadra and Devi Subhadra represent the Buddhist trinity of Buddha, Dharama and Sangha. It is also believed that the soul of Jagannath or Navi, most secretly hidden within the idol of Lord Jagannath, is nothing but tooth relic of Lord Buddha.Over the years, many followers of Lord Buddha have also embraced Lord Jagannath, endowing Him with certain aspects and characteristics that are inherent to Buddhism. For example, in some Orissan pata-chitra folk paintings depicting scenes of the Dasavatara, the ten primary incarnations of Visnu, the place of Lord Buddha is filled with an image of Lord Jagannath, instead. Not surprisingly, these adherents have also concluded that Lord Jagannath's large round eyes have meaning in Buddhist symbolism. They state that the Lord's round, wheel-like eyes illustrate the concept of nirvana. The soul, passing through many births, completes the circle and attains liberation after having traveled repeatedly around the great wheel. Sri Jagannath's eyes are that wheel, or are like a symbolic mandala of the wheel.


Jagannath is also known as "Darubramha." In other temples we see that stone and metal idols are the object of worship. But, the Jagannath quadruple are carved out of Neem Wood. It is a fact that the idols being made of wood, cannot sustain themselves for long time. Thus comes the question of "Navakalevar." Their (idols) periodical renovation becomes inevitable, which is called "Navakalevar." This is a unique ceremony in many respect in the Hindu religious worship.

Lord Jagannath is "Nirakar" having no "Akar" or specific shape of His own. He has no legs but two parallel incomplete hands. He has two round eyes. He is black in complexion and does not have ears. All these things bear testimony to His symbolic form.

One category of names for Lord Jagannath are those that refer to His beautiful round eyes.
These two round eyes represent the Sun and Moon. We all know that the Sun and the Moon
remove darkness and gives us light.He is called "Chakaakhi", because chakaakhi means 'round eyes'. "Chakanayana" and "Chakaakshia" are similar forms of this Name. The Lord is also known as "Chakadola", which refers to His round lid-less eyes, which symbolize that the Lord is constantly and vigilantly watching over His devotees. These Names also distinguish the fact that Lord Jagannath's eyes are unlike those of Lord Balabhadra and Goddess Subhadra, whose eyes are typically depicted as oval or slanted while the Lord's are completely round in shape.

The various meanings of "Chakadola" have been interpreted by scholars, as follows:

"One of the avataras (incarnations) of Lord Vishnu is Matschhya (fish) avatara. Rohita (Rohi fish) and Animisha (having no eye-lids) are two names of Vishnu out of His one thousand names ( Vishnu sahasra nama), which indicate Matschhya avatara. The round lid-less eyes, like that of fish, symbolise that Lord Vishnu or Jagannath is ever active and vigilant. To Him, days, nights and fatigue make no meaning. Sun and Moon are the two eyes of Lord Vishnu. Hence, His eyes are round in shape (" Sashi Surya netram ", Gita).

The eye-index of Lord Jagannath is higher than that of the images of deities belonging to many ancient civilizations e.g. the Indus valley, the Mexican and Egyptian civilizations. Hence, it could be presumed that Lord Jagannath is a very ancient deity in the world."

Similarly, Lord Jagannath removes darkness from our mind. He is the embodiment of knowledge and source of wisdom. Secondly, we know that circle does not have a beginning nor an end. In the same manner, the round eyes of Lord Jagannath teach us that He does not have a beginning nor an end. Thus we can say that He is Anadi (no beginning) and Ananta (no end).


Lord Jagnnath is called "Mahabahu". He has two stretched parallel hands without having palms. It presupposes that a man who surrenders to Him is embraced by Him and He ultimatelyprotects him(the man). One thing deserves Special mention here. Lord Jagannath's hand are parallel which prove His unlimitedness. We have read in Geometry that the two parallel lines cannot meet at a point. They may meet an unimaginary and an unlimited point. Thus, His hands are symbolic. Some scholars have even gone to the extent of saying that the three colours of the Deities (Lord Jagannath, Lord Balabhadra and Devi Subhadra) represent the three basic races of the world namely, black, white and yellow. Hence, the Trinity of Puri represents the mankind.
Because Lord Jagannath is Sri Krsna Himself, many of the Supreme Personality's Names are also used to describe Lord Jagannath. Jagannath, 'Lord of the Universe', is popularly known as "Padmalochana" (Lotus-eyed). He is also called "Jagadish" or "Jagatadhisha" (the 'King of the Universe), "Jagabandhu" (the 'Friend of the World), "Patitapavana" (Who Blesses the Most Fallen), Jagamohana, and Deena-bandhaba.

The Lord has many other Names that refer to his transcendental rulership over the worlds, including "Purusottama" (the 'Supreme Man), "Devadhideva" (Lord of Lords), and "Rajadhiraj" (King of Kings).

As Daru-brahman, the Lord is shrouded in mystery. While we behold His beautiful Form, the Lord's Brahman is invisible, too subtle for our conditioned material eyes! The Kena Upanishad (1.5.9) states, "That which is not seen by the eye, but by which the eye sees - know that to be Brahman".

There are numerous other Holy Names of Lord Jagannath that describe His other manifest qualities and pastimes. He is called "Kala Thakura", which refers to the fact that He is a black coloured God. Similarly He is known as "Kala Simha" (Black Lion) and "Kalia Kanbu" (Dark Darling).

Just as we find reference to Mahaabaahu in Bhagavad-gita 1-18, referring to "big-armed", Lord Jagannath is known as "Mahaabaahu", being big-handed, which symbolizes that he reaches out to help all the jivatmas. This Name is particularly sweet given that the Lord's Daru-brahma body is without arms.

Lord Jagannatha is called by the name "Nilachalia", because He lives in Nilachala, on the great dark hill. Locally he is worshipped today as "Neeladrivihari", having been worshipped in the past as "Neelamadhab" by an aboriginal chief.

Of all the Names used to describe our beloved Lord Jagannath, however, perhaps the most heartfelt of all is His Name, "Bhavagrahi" - He Who Cares for the Feelings of the Devotee. This is the practical manifest presence of the Lord that is felt by all who gaze into His loving eyes.

Iconology of Lord Jagannth gives us many indications. It is symbolic. Scholars have made an attempt to interpret the God in their own ways. It is for this reason that no definite view has been accepted and Jagannath cult has been interpreted in many ways. Every religious cult whether Hindu or Non-Hindu finds justification here. But in this context we must not forget the following words of Rig Veda 'Ekam Sat Vipra Vahuda Vadanti"(Truth is one, wise speak of it in different ways).

Baisi Pahacha

Baisi Pahacha, the twenty two grand steps that lead devotee to Lord Jagannath has a very significant place in Jagannath culture. width of the middle 15 steps varies from 5 feet and 10 inches to 6 feet 3 inches and the rise is 6 inches to 7 inches.The size of the remaining 7 steps are smaller both in length and width.The steps are made of felspar and Khondalite.The idols of Kasi-Biswanath,ramachandra,Nursimha, and Ganesh have been installed on the southern side of the Baisi pahacha.

Mythological Significance of the Baisi pahacha

Puranas list the avataras of Vishnu.

1) Catursana 2) Narada 3) Varaha 4) Matsya 5) Yajna 6) Nara-Narayana 7) Kapila 8) Dattatreya 9) Hayasirsa 10) Hamsa 11) Prsnigarbha 12) Rsabha 13) Prithu 14) Narasimha 15) Kurma 16) Dhanvantari 17) Mohini 18) Vamana 19) Parasurama 20) Raghavendra (Rama) 21) Vyasa 22) Balarama 23) Krishna and 24) Kalki.

Of these 22 avatars are considered most important and these steps (Baisi Pahacha) of puri Jagannath temple symbolizing for salvation. These are 1) Catursana 2) Narada 3) Varaha 4) Matsya 5) Yajna 6) Nara-Narayana 7) Kapila 8) Dattatreya 9) Prsnigarbha 10) Rsabha 11) Prithu 12) Narasimha 13) Kurma 14) Dhanvantari 15) Mohini 16) Vamana 17) Parasurama 18) Rama 19) Vyasa 20) Balarama 21) Krishna and 22) Kalki.


Another Belief says each steps has its significance of the existence of universe,

first five steps, Five Sense Organs; eye, ear, nose, tongue, skin

Second five steps, FivePrana: up-breathing (prana), down-breathing(apana), back-breathing(Vyana), out-breathing (Udana), on-breathing (Samana),

(Prana, in its capacity of the life force in breath, takes five separate forms. These five vital forces (pancha prana) breathe life into body)

Third Five steps, Inner Beuty: looks (rupa) , aesthetics (rasa), taste (swada), smell (gandha), noise(sabda)

Fourth Five steps, Panchamahabhutas :earth,water, fire,air, space

Twenty first step is wisdom and the twenty second is ego

After crossing each step, devotee can see the Lord of the universe of Shri Jagannath.

Then the third one ,

The Jains too have many things incommon in their spiritual practice with the cultof Lord Jagannath. They have an unflinching belief that the 22 steps of Puri temple represent22 Tirthankars out of 24 of their religion. The other two Tirthankers are represented through the stone citadel (Ratnavedi) of the temple and the Grand Road (Badadanda) of Purushottam Khetra. When a Jain devotee enters Jagannath Temple and starts climbing the 22 steps, he touches each step in deep reverence and then touches his head as a mark of adoration to the Trithankars of his religion.

According to belief, all sins of the pilgrims disappear who touch these steps even once.Baisi Pahacha is the path to salvation!

The devotional songs in Oriya known as"Bhajana" and "Jananas" reflect the devotees' faith in the powers of Lord Jagannath. The Odissi dance owes its origin to the temple rituals observed in the "Bada Deula" .The "Baisi Pahacha" is described in the devotional songs as the place where one re-examines and affirms his faith in Lord Jagannath.

Bheshas of Shri Jagannath

Lord Jagannath always shows close affinity to human world and it can be even more with his costumes in different Bhesa,The deities on the Ratnavedi are adorned with various gold ornament studded with precious gems,Tulasi leaves, sandalwood paste,camphor & occasionally musk are used in the daily puja of the lords. Jagannath, his brother Balabhadra (also called Bara Thakura) and his sister Subhadra are enthroned on the Ratnavedi or Singhasan, a throne of chlorire about five feet high. The images are wood, and there are also miniature metal images of Laksmi and Saraswati, besides an image called Sudarsan Chakra( the name of the wheel of Vishnu). The elder brother Balabhadra is six feet in height, the younger Jagannath five feet, and their sister Subhadra four feet. They are fashioned into a curious resemblance of the human head resting on a sort of pedestal. They are painted white, black, and yellow respectively. Social anthropologists interpret these colours to represent the three races of mankind viz. Negroids, Europeans and Mongoloiads. In the empirical language of physics black is the most ideal absorber of radiation, white a good reflector and the yellow one of the unadulterated primary colours. their faces are exceedingly large, and their bodies are decorated with a dress of different colored cloths. The two brothers have arms projecting horizontally forward from the ears.While the eyes of Jaganath are regular circles, the eyes of Subhadra and Balabhadra are oval. The head of Balabhadra is scalloped with a semi-circular lobe indicating a hood of a serpentSubhadra's head a tiara and Jagannath a straight line

Nabakalebara (construction of New idols of the three Lords) is regular feature of Jagannath Dham at regular intervals. Old, worn out idols are rejected and buried under earth and in their place, new idols for 3 deities, i.e. Lord Jagannath, Subhadra and Balaram, are constructed. From that time, tradition, still remains that carpenter sevaks and priests living with discipline pray,Maa Mangala of Kakatpur remaining prostrated before the deity at Kakatpur to bless them by showing sacred trees and their location, which alone are suitable for construction of the idols in Nabakalebara. In fact, they get the indication, and exact location of the sacred trees and path leading to the location, in dream. This practice and custom and tradition have been existing for years together, without any deviation. Successful guidance, without fail, from the deity to find out the sacred tree, is evidence of the power and energy of Maa Mangala of Kakatpur. This is unchallenged evidence which stands unrebutted giving concrete proof of blessing, power of mother Mangala on their devotees. Even Lord Jagannath who is the hood of all universe is assisted by mother, who is the original power for creation, is actively guiding the carpenters and priests to find out suitable sacred wood, according to specific features, for construction of the sacred idols, what to speak of other evidence.

The three deities have Vastra Shringar (dress regimen) too.Jagannath is dressed with clothes of prescribed colours viz. Sunday (red), Monday (white with black border),Tuesday (five assorted colours), wednesday (blue), Thursday (yellow), Friday (white), Saturday (black).As per lunar cycle deities are dressed up differently out of which 21 have historical significance viz. certain robes were introduced by none other than Chaitanya,Ganapatti Bhatta,Vallabhacharya,Ramanujaacharya and others in different centuries.

Abakash Bhesha

This is done daily, after mangala arati, for the abakash rituals. Abakash is the tooth brushing and bathing ritual. The clothes that are worn by the deities are called 'Tadapa' and 'Uttariya.'



Badasrunghara Vesha

This is a very beautiful vesha. It is done before the night time 'pahuda', when the deities are allowed to take rest. It is therefore the vesha the deities appear in the following morning, for mangala arati. This vesha is mostly made of different kinds of flowers. The Lords are decorated with flowered ornaments known locally in Puri as adhara, jhumpa, gava, chandrika, tilak, alaka, guna, hruda pallava, karapallava and tadaki among others. The Deities also wear many flower garlands, some with tulasi leaves, and silk clothes called khandua.

Chandana Vesha

This vesha is done for 42 days, beginning on Akshaya Trutiya.





Hati Vesha

On the full moon day of the month of Jyestha, after the bathing ceremony is over, the Deities are dressed in elephant costumes. Lord Jagannath and Lord Balabhadra are made to look like Lord Ganesh.


Suna Vesha

On the 11th day of the bright fortnight in the month of Ashada, when the Deities return from the Gundicha Mandir on their chariots, they appear in the Suna (Gold) Vesha. They are are decorated with golden ornaments and wear gold crowns. Lord Jagannath and Lord Balabhada appear with hands and feet made of gold. Lord Jagannath holds a golden chakra in His right hand and a silver conch shell in His left. Lord Balabhadra holds a golden club in His right hand and a golden plough in His left.

Raja Vesha
On the 10th day of the bright fortnight of Aswina,the full moon of Pousa and the full moon of Phalguna.

Banabhoji Vesha

On the 10th day of the dark fortnight in the month of Bhadra, the Deities are dressed for a picnic, like the cowherd boys.



Kaliyadalana Vesha

On the 1th day of the dark fortnight of Bhadra, Lord Jagannath is dressed as Krishna in His pastime of killing the serpent Kaliya(Black Cobra).



Pralambasura Badha Vesha
On the following day, the 12th day of the dark fortnight of Bhadra, the Deities are dressed to commemorate Lord Balabhadra's pastime of killing the demon Prahlamba.



Krishna-Balarama Vesha
On the 13th day of the dark fortnight of Bhadra, Lord Jagannath and Lord Balabhadra are dressed very attractively as Lord Krishna and Lord Balarama.


Bali Vamana Vesha
On the 12th day of the bright fortnight Bhadra, Lord Jagannath is dressed like the dwarf brahmin Vamana, who defeated the demon Bali. Vamanadeva was one of the das avatars, the ten incarnations of Lord Vishnu.

Radha-Damodara Vesha
For an entire lunar month, from the 11th day of the bright fortnight of Ashwina to the 10th day of the bright fortnight of Kartika, the Deities are dressed in this vesha. Damodara refers to the lord with a rope tied around His waist, which relates to Krishna's pastimes with Mother Yashoda.


Thiakia Vesha or Laxmi-Narayana Vesha






Bankachuda Vesha

(Assuming the curted hair make-up)Used on the 12th day of the bright fortnight of Kartika.


Adakia Vesha or Trivikrama Vesha

Used on the 13th day of the bright fortnight of Kartika.




Dalikia Vesha or Laxmi Nrisimha Vesha

Used on the 14th day of the bright fortnight of Kartika.
Raja Rajeswari Vesha
The full moon of Kartika.

Chacheri Vesha
From the 9th day of the bright fortnight to the full moon of Jyestha except the 14th day.



Nagarjuna Vesha
This vesha honors Parasurama, the warrior incarnation. It is used only occasionally. It happens during the month of Kartika, when there are six days of Panchaka. This was done six times in the last 30 years on 11/3/95, 11/16/94, 11/26/93, 11/3/68, 11/16/67 and 11/26/66.


Ghodalagi Vesha
During the period from the 6th day of the bright fortnight of Margasira(Odhan Sasthi) to the 5th day of the bright fortnight of Magha (Basanta Panchami) the Deities wear winter clothes.


Jamalagi Vesha
From Basanta Panchami to Dola Purnima the Deities wear modified ghoda (winter clothes).

Padma Vesha
It is done on Saturdays or Wednesdays between the new moon day of Magha and Basanta Panchami. 'Padma' means 'lotus,' and the Deities' dresses are made from lotus, sola lace and paper. These dresses are traditionally supplied by the Badachhata Matha. Halva is offered to the Deities when They are in this vesha.

Gaja Uddharana Vesha
This vesha is done on the full moon day of the month of Magha. It commemorates the story of Gajendra, the king of the elephants, and the alligator.

The Jagannath Temple - Puri

The present Shri Jagannath Temple is the mystery of 12th century A.D. It was built by the king Ananta Barma Chodaganga Dev during 12th century A.D (1135) and was completed by his grandson Ananga Bhima Dev.The exact geographical location of the temple of Jagannath is lat. 19 18'17" and long. 85 51'39".Among the existing temples Orissa, the temple of Jagannath is the highest.The temple (214 ft. 8 inches high from the road level) is on a perfect pancharatha plan. All the paraphernalia of feudal pomp and splendour observed in the daily life of the emperors or potentates of old can be noticed in the daily worship of Jagannath.Shree Jagannath temple is a ‘Rekha Deula’ with curvilinear tower on a ‘Pancha Ratha’ plan. The height of the temple is 214 feet 8 inch from the ground level and 181 feet from inner base (ANTARVEDI). It stands on an elevated platform of stone measuring about 9.83 acres. The temple is bounded by two enclosures. The inner enclosure is 420' x 315 ' size and known as Kurma Bedha, which made between 1467-1494. The outer enclosure is of 665' x 644' size with the height varying from 20 ' to 24 ' and known as Meghanad Prachir.

There are four major temples in a row, named ‘Viman’ (The main temple where Lord Jagannath is worshipped with brother Balabhadra, sister Subhadra and Sudarshan), Jagamohan (Audience hall), Natamandap (Dance hall) and the Bhoga Mandap (offering hall). The height of Jagamohan is 120 feet and the base area is 80 feet x 80 feet. The base area of Nata Mandap is 80 feet x 80 feet and the base area of Bhogo Mandap is 58 feet x 56 feet.

Bada Danda

Everything associated with Shri Jagannath is believed to be grand and big (bada in Oriya ),he is called Bada Thakua the temple itself is called Bada Deula. The sea with its wide and straight beach extendending for miles is called Mahodadhi,the Great Ocean. The food offering of the temple are known as Mahaprasad. The Bada-Danda, Grand Avenue is a wide road linking the great temple of Jagannath on the south to Gundicha Temple on the north, the latter the birth place of the Lord.Bada Danda wears a festive look through out the year and is typical grand Indian bazaar.

Aruna Stambha

In front of the entrance to the eastern gateway there is the beautiful Sun Pillar Aruna Stambha, which originally stood before the temple of the Sun at Konark Temple and was shifted here by the Marathas.It is a monolithic shaft of chlorite with sixtten sides.It is 25 feet and 2 inches in height,2 feet in diametre,and 6 feet and 3.5 inches in circumference.It stands on an exquisitely carved pedestal (made of chlorite) of 7 feet 9 inches square and 6 feet high,and has a capital on the top 2 feet high,over which squats the praying Aruna. The capital is formed of two rings surmounted by a series of lotus petals. The measurements thus give a total height of 33 feet & 8 inches from the ground to the top of the capital.In its present situation the pillar is about two part of the 13th century.

Dwaras
The temple has four gates at the Eastern – Lion Gate (Singha Dwara – The main entrance), Southern – Horse Gate, Western – Tiger Gate, and Northern – Tiger Gate at midpoints of the Meghanad Prachir (Outer Wall). Eastern entrance of the outer enclousure is called Simhadwara or the Lion Gate. The entrance on the Southern,Western and Northern sides of the out enclousure are known as Aswadwara, Vyaghradwara and Hastidwara respectively. They are also called as Purbadwara, Dakhinadwara, Paschimadwara and Uttardwara according to their directions.Worshipping the gates also forms a part of the daily ritualistic service of the temple.The eastern gate is beautifully ornamented.Navagraha reliefs are carved on the architraves of all the gates.
Simha Dwara
Two colossal lions flank the Purba Dwara (Eastern Gate) also known as Simha Dwara. This is a mini tower and the main entrance to the temple. One gets a view of Patitapabana facing east on the northwestern corner o inner walls of the gate. The image can be seen from outside the temple precincts. Those who are denied an entry into the temple can still get a glimplse of the single image of Lord Jagannath. In front of Patitapavana a small image of Garuda has been installed. the idols of phatya Hanumana,Radha-Krishna,and Nursimha have been installed in the inches of the side walls.
Baisi Pahacha
Inside the outer enclosure is the inner enclosure,approached by 22 flights of steps (Baisipahacha) from the eastern gateway of the outer enclosure.The width of the middle 15 steps varies from 5 feet and 10 inches to 6 feet 3 inches and the rise is 6 inches to 7 inches.The size of the remaining 7 steps are smaller both in length and width.The steps are made of felspar and Khondalite.The idols of Kasi-Biswanath,ramachandra,Nursimha, and Ganesh have been installed on the southern side of the Baisipahacha. As the devotee comes out of Gamuta, small tower of simha dwara, he climbs on to the Baisi Pahacha.
Aswadwara
The Aswadwara or the Horse Gate has on each side a galloping stallion of masonry work with the figures of Jagannath and Balabhadra on their back in full military array.These sculptures depict the legendary Kanchi expedition of Jagannath and Balabhadra,and have been installed recently.The inner enclosure is approached by ten flights of steps,made of khondalite,from the southern gateway of the outer enclosure.

The images of Sadhabhuja Gouranga, Ramachandra, Gopala, Barabhai Hanumana and Nursimha have been installed in small shrines in the outer enclosure.Towards the eastern direction of it is the kitchen of Lord which can feed thousands of people at a time. The process of cooking done in the kitchen has some peciliarities.In the same over nine earthern pots are placed and cooking is done simultaneously.There are 200 hearths in the kitchen and 400 supakars work here daily.The present kitchen building dates from the regin of Divyasimha Deva (1690-1713 A.D.) and was built by a private person.The colossal image of Mahavir Hanuman is installed outside the temple enclosure to the east of Aswadwara.

Vyaghradwara

The Vyaghradwara or the Tiger Gate has on each side a figure of a tiger made of mortar.The inner enclosure is approached by seven flights of steps,made of khondalite,from the western gateway of the outer enclosure.The deities of Rameswar-Mahadeva,Sri Jagannath Dwarakanath,and Badrinath are installed in the outer enclosure in a shrine known as Chaturdham.Flower garden have been set up both the sides from which flowers are collected for the daily worship. The shrines of Chakranarayana, Sidheswara, Mahabir Hanuman, and Dhabaleswar Mahadeva are located in this area.On the northern side, the Niladri Vihar has been constructed which depicts the popular legends on Jagannath through models and paintings.

Hastidwara

The Hastidwara or the Elephant Gate had on each side a colossal figure of elephant,which is said to have

been disfigured during the Muslim inroads.Subsequently,these figures were repaired and plastered with mortar and placed at he northern gate of the inner enclosure (Kurma Bedha).

The inner enclosure is approached by thirteen flights of steps made of khondalite,from the northern gateway of the outer enclosure.The deities of Lokanath,Uttarani,Lakshmi-Nursimha,Baraha and Sitala have been installed in the outer enclosure.There is also the sacred Suna-Kuan from which 108 pitchers of water are taken for the ceremonial bath of Lord Jagannath during the Snana Yatra.On the western side of the outer enclosure,near the gate of the kurma bedha,stands a banian tree,and on a raised platform,the favour Koili Baikuntha or Kaivalya Baikuntha.During the Nabakalebara,the images of Jagannath,Balabhadra and Subhadra are being constructed here.

Kasi Viswanatha,Surya Narayana,Kalpa-Bata

Immediately to the left of the first step adjacent to gamuta of simha dwara is the small temple of Kasi Viswanatha facing west. It is the temple of Lord Shiva.It is customary to visit Lord Shiva first before visiting Lord Jagannath. After climbing the twenty-two steps , the devotee reaches the inner walls of the temple known as Kurma Prachira. It is believed that Gajapati Kapilendra Dev Constructed this and the outer walls, Meghananda Prachira in fiftennth century. The eastern gate of the kurma Bedha has several exquisite sculptures.Notable among these are the ones Krishna and Radha and Shri Rama vanquishing the ten headed demon Ramana.

On turning left towards south the kitchen of Lord will come across. In the same corner of inner courtyard is the image of the Surya Narayana in a separate temple facing north. The black granite image of the four-armed Vishnu worshipped here is believed by some to be original of the presiding deity in his Nilamadhava manifestation.

Turning westward Kalpa-Bata, teh sacred banyan tree can be seen which ostensibly fulfills one's wishes. Devotees first offer prayer to Bata Krishna, a small image of child Krishna lying on a leaf of banyan tree,remniscent of apocalypse. Next facing North Bata-Ganesha is offered prayer. Turning furhther right devotee get glimpse of the mother goddess Bata Mangala and Shiva as Bata Mahadeva.

Dasa-Avatra on the inner walls of Nata mandira. (Here Buddha is identified as Lord Jagannatha).

Opposite to the southrn door of the Jagamohana Narasimha Temple is located, where a small image of Narasimha considered as Adi-narasimha is worshipped.Facing this temple is Mukti Mandapa, literally a covered platform that provides emancipation. This is an assembly of learned scholars well versed in sastras. The Shankara charya of Puri has the trditionl privileage of presiding over the learned assembly.

As the devotee moves towards the temple of Bimla, passes by Rohini Kunda. A small stone tub with image of the sacred crow (Kaka Bhusanda) and the chakra, wheel of Vishnu etched at the bottom. The temple of Bimla, a manifestation of the Mother Goddess and considered as shakti of Lord Jagannath. The holy food offered to Shri Jagannath is sanctified only after it is presented to Bimala and then acquires the character of Mahaprasad. Next is the temple of goddess Lakshmi known as kamala and Sri. Laksmi, daughter of the Ocean and goddess of wealth and prosperity. The sacred food in srimandiara is supposed to be cooked by none other than Mahalakshmi herself.

Garuda Stambha

The open and wide courtyard inside is called Pata Agana. Seven steps from there leads to the main temple through Nata Mandapa ( Dancing Hall). Garuda Stambha stands right infront of Bhoga Mandapa at the extreme eastern end of the Nata Mandapa. A beautiful chlorite image of Garuda, the celestial carrier-eagle of Jagannath sits with bent knees on the top of pillar in a small platform offering prayers to his lord.From Garuda Stambha, one can get a clear view of the presiding Many consider that getting a glimpse of the presiding deities from the this location is the best form of darshan. Infront of Nata Mandapa, on its west is the Jagamohana, the Audience Hall, via Jaya Bijaya Dwara.Jaya and Bijaya are the celestial doorkeepers of Vishnu. A round Wooden bar is normally placed across the entry to the sanctrum and is known as the Chandana Argali.

Ratna Simhasana

The sacred eleveted platform on which the deities are installed is known as Ratna Simhasana.For this Devotee has to cross Kalahata Dwara, the door of the innermost sanctrum of the Srimandira. On Ratna Simhasana , Lord Balabhadra, the elder Brother is manifest at right with Subbhadra in the middle and Jagannath to her left. At the extreme left of the platform stands Sudarshana, the celestial wheel of Vishnu-Krishna-Jagannath, represented here as short pillar.In addition to three principal deities and Sudarshana, three other small images that of Bhudevi,Sridevi and Nilamadhava are also placed on the Ratna Simhasana, are known as Saptadha Murti.

Neela Chakra

The metal wheel at the top of temple is known as Neela Chakra (Blue Wheel). The wheel is made of eight metals comprising of iron, copper, zinc, mercury, lead, brass, silver and gold. It's circumferance is about 36 feet and it is so designed that there is a wheel within the wheel. The circumferance of the inner wheel is about 26 feet. Eight hubs join together the inner and the outer wheels. There are decorative designs on the outer wheel. The thickness of the Neela Chakra is 2 inches.

Anand Bajara situated in the north eastern corner of the outer courtyard. Food that is offered to Shri Jagannath can be bought here. The variety and huge quantity of food offered are unique among any temple.As saying goes fifty-six tyoes of food items are offered to the deities and Jagannath. He is also known as Chappanabhogi.

The Kitchen

His kitchen is considered as the largest and the biggest kitchen in the world. It is situated south-east direction of the outer compound of Srimandir. The length of the kitchen is 150 feet, breadth is 100 feet and height is about 20 feet. It consists of 32 rooms with 250 earthen ovens within these. Around 600 cooks (Suaras) and 400 assistants serve here everyday for preparing Lord's food.

There are three types of hearths in the kitchen of Srimandir such as Anna Chuli, Ahia Chuli and Pitha Chuli. The dimension of hearths where rice is prepared are 4' x 2.5' x 2'. The rectangular space created between two rice hearths is called Ahia. All types of Dal and Curry items are cooked in Ahia Chuli. There are only ten numbers of Pitha Chuli in the temple kitchen which are made of cement. The fire of this kitchen is known as Vaishnava Agni, because it is the fire in the kitchen of Lord Jagannath and used to serve Vishnu Himself. It is never put out.

It is believed that Mahalaxmi cooks in the kitchen Herself; all are felt to be Her servants. As she is not attentive to the cooking on the days when Lord Jagannath is said to be sick before Rath Yatra, the food is less tasty. During Ratha Yatra when Lord Jagannath is in Sri Gundicha Temple, She is said to have no zeal to cook and so the food is tasteless. It is also said that if mother Laxmi is displeased with the preparations by the cooks, a dog will appear mysteriously on the temple grounds. If the dog is seen, all the food must be buried and prepared again. As no dog is allowed to enter the temple, this dog is said to be Kutama Chandi, a tantric goddess in charge of purification of food.

Four types of cooking are prepared in the kitchen of Srimandir. Those are Bhimapaka, Nalapaka, Souripaka and Gouripaka. The items of Bhimapaka consist Badatiana, Gudakhuara, Pakala Nadia Rasa, Purapitha, Biripitha and Gudakanji. In Nalapaka, items like Sakara, Tianalapara, Adanga and different types of sweet drinks are prepared. Souripaka items include Mahura, Deshialubhaja, Kadalibhaja, Adapachedi, Ghialabanga and varieties of cakes. In Gouripaka, Mugatiana, Leutia, Kosala and Madhura Lalita Saga items are cooked.

In the kitchen of Srimandir, four types of rice are prepared. These are Salianna, Khiraanna, Dadhianna and Sitalaanna. Sunakhila rice cooks along with ghee and Phalatabha Kharada Lavana to get Salianna. For getting Khiraanna alongwith Basumati rice; cow milk, ghee and Kharada Lavana are mixed and cooked. Similarly plain rice mixed with curd; Dadhianna is prepared and rice mixed with Tabharasa and Kharada Lavana; Sitalaanna is prepared.

The food in the temple kitchen is prepared in such a pure way and with deep devotion; great spiritual impact is felt, both by those who cook and those who eat. The unique feature is that, clay pots are placed in a special earthen oven, five in numbers, one on the top of another. Yet the one on the top is cooked first.

There are two wells in the temple complex for the purpose of supplying water to the kitchen. These are named as Ganga and Jamuna and both are near the kitchen itself. The radius of the wells is more than 10 feet and depth is 100 feet each.

All the necessary commodities for the temple kitchen are brought from Mahalaxmi Bhandar, which runs by Suara Nijoga Cooperative Society. The earthen pots used for cooking foods are provided by Kumbhakara Nijoga Society. The potters of Kumbharapara and nearby areas supply these pots the temple kitchen. The required timber for the kitchen was previously supplied from different forests of the State. But after nationalisation of forests, the State Forest Corporation is providing timbers for cooking purpose.

Daily 5,000 persons may be fed, but on big festival days, one to ten million may be accommodated. The temple kitchen of Lord Jagannath is therefore considered to be the biggest hotel in the world, serving all without reservation or previous notice.