Monday, 15 December 2014



 GOSWAMI FAMILIES OF BENGAL -- 
Bearers of tradition


The actual renaissance of Bengal is said to have begun with the birth of Chaitanya Mahaprabhu in  1490 . This god intoxicated man shunned the rigidity of caste systems and preached devotional love to God as the means of self realization . And it was his all encompassing philosophy of love that ushered in the new age of arts , culture , religion and literature . The era that followed is often denominated as ‘chaitanya jug’ – the era of Chaitanya , in history of Bengal .  And the Goswami families of Bengal were the forbearers of this change that began way before the 19th century renaissance .

Although Chaitanya chose to lead a life of a monk , he usually did not encourage his disciples to be one themselves . He is reputed to have persuaded his most intimate disciples to continue as married man . Following his advice , most of his intimate followers got married and settled in different areas of Bengal . Soon after the dissapearance of Mahaprabhu , the management of the gaudiya vaishnava movement went to the hands of his closest friends such as Nityananda , Advaita and Gadadhar pandita . Nityananda’s wife , Jahnava devi was perhaps the immediate supremo of the movement after Nityananda’s dissapearance . 


The descendants of these early saints would eventually form the Goswami family branches and would rule the religious and social scenario of Bengal for centuries to come . The first generations were sincere and spiritual , having imbibed strong spiritual values from their forefathers and also from the exemplary lives of  the direct disciples who were still alive and they have had the fortune of seeing with their own eyes .  They became the undisputed leaders of the movement , revered and approached by all who wanted to embrace the new religion . This was the start of hereditary gurudom ... which would affect Bengal both in a benevolent and malevolent way .

Vaishnavism provided a extremely fertile ground for expansion of literature , music and arts . The bulk of medieval Bengali literature can be classified into two broad genres – the vaishnav padavali and folk mangalkavyas .  This padavali literature flourished under the new movement and strengthened the foundations for  modern Bengali literature which would develop in 19th and 20th century . 

Almost all terracotta temples which we see today in Bengal are a direct result of Chaitanya movement . An astounding array of architectural styles sprang up all across Bengal , notably in Bishnupur , Hooghly and Burdwan districts . 

Temples of Bishnupur


Temples of Bishnupur


And Padavali kirtan was the first indigenous classical music form of the state . We see a strong patronisation of music and education in these Goswami families . Many of these vaishnava gurus themselves became exponents and maestros of music . Radhika Goswami , Gyanendra Prasad Goswami just to name a few . The famous Kali sadhak Kamalakanta is famed to have taken his classical music lessons from a Goswami guru .

By 17th century , the Goswamis had assumed the role of spiritual gurus and mentors for the majority of the ruling elite of eastern India and have extended their influence as far as Vrindavan .  Landed aristocracy found the new vaishnava dharma with its cultural appeal more palatable than the secretive esoteric tantric faith of Bengal . Installing temples to Radha and Krishna became a symbol of aristocracy and culture . 


King of Manipur converted to this new faith and made Gaudiya Vaishnavism his state religion .  The Manipur royals erected the only gold topped temple of Bengal at Nabadwip . A significant number of Bishnupriya manipuris used to live in Nadia district . Old residents of Nabadwip narrates tales of Padavali music of Manipuri style floating down the narrows alleys every dusk at the time of evening prayer . On special occasions they would even perform Manipuri Raas nritya in the temples . The tradition continued as late as 1980s .

Malla kings of Birbhum adopted Gaudiya dharma and made their capital at Bishnupur a new center of learning and arts . The Jharkhand royals soon followed in their footsteps . Their loyality to Gaudiya faith can still be seen in the ruined temples of Panchakot .

 Suvarna Baniks , also known as Sonar Bene caste , were rich gold traders . Uddharan Dutta , a resident of Aadi Saptagram port , was inititated into thie new faith by Nityananda prabhu . Uddharan Dutta reportedly preached the glories of Gauranga to all his relatives and soon the whole of Suvarna Banik caste were vaishnavs . They accepted the Goswamis as their gurus . The influence of the goswamis over the landed aristrocracy meant that they were awared with villages / maujas as guru-dakshina . Over time they goswamis grew in power and rose to being zamindaar’s themselves !
Kali prasanna Simha , the author of ‘Hutom penchar noksha’ writes – “ we have never seen a weakling gosai . The very name Gosai invokes a imagery of a huge plump glutton . They lead a life of astounding luxury which would even put big kings to shame ! “  . Although a sarcasm , the comment successfully gives its readers an idea of the power and wealth of the Goswamis .

Opulent temples of Goswami families


Shantipur Raasjatra

Though the Gosais were educated and intellectually inclined , they were also religiously orthodox and proud of their ancestry . They were rich and indulged in luxury , engaged in outwardly show of rituals and grand celebrations and maintained their disciplic succession . As their political power grew , they started flaunting their status through building imposing palaces and organising Durga and Jagaddhatri pujas , like other contemporary zamindars. Some of these Durgotsavs still survive , albeit in a very basic way .

By the mid of British rule in India , the foundations of Gaudiya vaishnavism had weakened . Burdened with superstitious beliefs , malpractices and troubled with lack of efficient leaders , the beautiful movement of Mahaprabhu failed to attract the rationalist and scientific minds of 19th century intelligentsia . Urban people increasingly started to perceive it as a movement for uneducated masses . At this juncture the Goswamis still managed to hold on their power amongst general people , but lost relevance amongst the western educated elite . A major change in socio religious movement of Bengal came in through the rise of Vivekananda in late 19th century . Through the new Ramakrishna Vivekananda movement , educated Bengalis craving for a more liberal approach to god , found a new religion to devote themselves . Over the 20th century , traditional vaishnavism weakened and the era of glory of the Goswami families finally came to an end . After enjoying centuries of adulation , they were beggared ! Kula-guru ( heriditical gurudom ) system collapsed and the new age vaishnavism that sprang up under aegis of Bhaktibinod Thakur did not looks upon the Goswamis with much favour .

However , the temples and palaces of the  Gurus of yesteryears still stands , tucked in various corners of Bengal ..........  complete with their own myths and tales of spiritual feats  . But without anyone willing to hear them . . . . 


Deities of Goswami families . Now lying neglected


Dilapidated temples of Goswamis

Saturday, 15 November 2014

SHANTIPUR RAASOTSAV -- A JOURNEY THROUGH TIME !


Its been more than a month after Durga pujas and the festival memories are becoming distant with each passing day . But Shantipur , a small town in Nadia district is rising once again to sounds of dhaak . The main festival of the town , Raas yatra , has arrived .
  

Yugala sadhana is all about relishing the sweet Ras (extracts) of the leelas of Radha and Krishna . And this ‘ras’ finds its ultimate expression through the dance of ‘raas’ . On the full moon night of autumn , Govinda staged this divine union with the cowherd damsels of Vrindavan .
Out of all the leelas(play) of God the most important is the nara-leela or play as human incarnate . Out of all the incarnations the supreme is his incarnation as leela purushottam Sri Krishna . Out of all methods of reaching God the easiest and loftiest is Bhakti – The path through devotion . Out of all the bhavas (moods) of bhakti , the most perfected is the ‘madhura’ where one loves god as his lover . This madhura bhava is most concentrated in ‘parakiya’ – love relations out of nuptial ties .

And the place where this five points converge is raasa leela ! Purnaavatar Sri Krishna expresses his affection to Radhika through parakiya ras . To a historian , Raas is an ancient vedic dance form that was practiced in ancient days but now forgotten . We also get references of Vasanta raas or Balarama’s raas dance in the month of Chaitra . Which raises the speculation that Raas might be a generic name given to certain dance styles of those times . To a devotee it is the highest leela of Bhagavan Sri Krishna . To a philosopher it is the union of bhakta bhagavan . Call what you may , Raasa is the perhaps the most spectacular pastimes of the lord . For this Krishna expanded himself into as many Krishnas as there were Gopis ! And each of these Krishnas acted and sported individually with each Gopi ! The illusory maya of Krishna did not allow the gopis the see many Krishnas . So all through the dance each gopi thought that it is she alone who has Krishna by her side .




Deendayal Pramanick bari is still decorated with candle lit chandeliers . The ambience hasnt changed at all !


  






Mutt bari 
RadhaRaman Ju of Boro Goswami Bari
Shantipur's famous Raai Raja --  pre pubescent girl dressed and revered as Raai or Radhika

Barely a hundred years back , Raas yatra , the celebration of Raas leela was one of the four most important festivals of Bengal . The other three being – Durgotsav , Dola yatra and Ratha yatra . Deities of Radha and Krishna used to be carried to separate temples or Raas manchas and specially worshipped with songs and dances all night long. But with the decreasing important of gaudiya vaishnavism in Bengal , Raasotsav has also dwindled . Except in Shantipur  ... ! 

Topknot or Chuda . Once the traditional hairdo of many vaishnavs . Now a rarity

Gouranga

vaishnava pilgrims to Shantipur raas yatra

108 dhaaks playing


Five hundred years ago a learned brahmin by the name Advaita Acharya used to worship his god on the banks on Ganges and pray to Vishnu to deliver mankind of the various malpractices that have crept in . It is said that hearing his cries , Lord Vishnu could not contain himself and longer and descended on earth as the combined form of Radha and Krishna -- Chaitanya Mahaprabhu . Advaita Acharya was a resident of Shantipur and his descendents are now split into numerous aristocrat families called Goswamis . The most respected of them all is the Boro Goswami branch . It is them who started extravagant celebration in honour of their family deity RadhaRaman and the trend soon picked up and became popular with other noble families of the region .


Procession of deities , houses lit using Belgian glass chandeliers , Raai raja , Howdahs , Thakurdalans , Padavali kirtan --- Shantipur during raasyatra gives u a feel of bengal now lost in pages of history . It is almost like going back in time machine and connecting to your roots and culture . Discovering a new lost world , securely tucked away in the hustle bustle of modern 21st century cosmopolitan life  . It overwhelms to awaken the poet in you .... making u want to go back year after year for more !




Keshav Raay Ju
Keshav Raay Ju


Howdah of Raai Raja - An young girl dressed and revered as human Radha !


Raai Raja



Howdah of Gods


Kunja bhanga , the last day of the festival is when the deities are respectfully taken back to their templed through song and dance

Palanquin carrying the deities adorned with heads of Makara


Thakur naach / Kunja bhanga

Sankirtan

Bhog Nivedan

Monday, 7 July 2014

NAAZIR BABU'S RATH -- extinction of an art 


Like many other states of India , Bengal's religious chariots were modeled on its own style of temple architecture . The Jagannath rathas of Bengal did not look like the ones from Puri . They resembled the ratna mandirs of Bengal . Ekratna ( single spire on the top ) was the simplest and Navaratna(9 spires) or pancharatna(5 spires) was the most popular . Traditionally Bengal's rathas have been carved in wood and painted lavishly with pictures of gods and goddesses . As time progressed the old paintings faded away and new artists were employed to redo it . Rathas built in different eras bear on them different styles of painting which was vogue in that corresponding era . But wood is a perishable stuff easily destroyed by elements and burnt by fire . When people realized the impermanence of wood, they resorted to building rathas in brass , silver or iron . Not many wooden rathas of antiquity survive till this date . Nazir babu's Ratha in Chetla is one such wooden ratha which is still standing . But it is not the ratha itself but its paintings ( Rathachitra ) which really is the topic of this discussion .





Naazir babu's rath


Horses .. one of them has his hooves broken

Nazir family's fortunes dwindled and enthusiasm waned over time . The ratha procession stopped long time back . Consequently no attempts were made to repaint or upgrade it . That has actually proved to be a boon by preserving the originality of the old paintings . The paintings themselves are of great importance because they were painted in early years of 1900s , at a time when Kalighat pata style was going extinct and lithographs were steadily replacing the void . One look on the rathachitras would be sufficient to tell that they are handiwork of Kalighat artists . The pictures has the basics of Kalighat genre , the elaborate detailings of Dutch Bengal school and influence of emerging lithograph prints . Painted at a crucial juncture in history , they tell a lot about the last days of Kalighat painting and art scenario in colonial Calcutta . And therein lies the importance of Nazir babu's ratha !





A closer look to the pigments of the paint reveals cracks , suggesting some sort of oil based medium might have been used . In early 20th century Oil painting was specially popular in all walks of life . The paintings are unmistakably Kalighat and yet borrows heavily from lithographs of the time . It is understood that by the time they were painted , simplistic Kalighat pats has lost its appeal amongst masses and that the artists were resorting to new styles to lure people . What drew my attention while examining the works is mention of the words G.K.D. underneath the paintings .


I was searching for more clue when i came across a full fledged name - Jibon Krishto Das and an address reading Krishna Bati , Howrah ! It was an amazing feeling to discover the name of a long lost forgotten artist . He was perhaps one of those who actually witnessed the extinction of Kalighat . And it is probable that he was reputed in the field of painting . His initials in english and signature in bengali bear testimony to his high literacy which could not be possible had he not been reputed as a patua .


" artist - Jiban Krishto Das . Address - Krishna bati , Howrah "




Question may be risen as to why would an artist of Kalighat mention Howrah as his address !? That isnt very surprising either . Because most patuas of Calcutta came from rural belts and re settled in the new emerging metropolis for better income . It is very likely that this individual maintained his ties with his native place and preferred identifying himself as from Howrah .  It is highly unlikely that a rich Baboo from Chetla would need to call an artist from as far as Howrah when he has Kalighat right next to his hand !



A Calcutta Baboo

However , the stoppage of the rituals had led to one great danger . Lack of even the basic maintainence has caused wood to chip away and break in places . The nine silver kalasha , amlaka and chakras that used to adorn the top of the spires are long stolen . The paintings have chipped off in places and faded out . The colour is almost gone now . At this stage , one can never be sure how long can this wonderful piece of history survive . I was having a talk with the members of the family on the importance of this rath and why it must be preserved . Thankfully I learnt that the family is planning some repairing works soon . I offered myself to help , if they need any related to restoring the paintings . Now we can only pray for the good .

As I was coming out of the gate I looked back once again to those fading pictures of gods and goddesses , singing songs from another time and era ..... brought to life by an unknown painter whom no one remembers today - Jibon Krishto Das .







Ramchandra Vanavas

Balaram


Jagaddhatri


The Kashmiri shawl and its embroidery on Raja Ramachandra's body is worth noticing


Raja Ramachandra durbar




'borshaa' is a technical name given to such motifs on the corners of the each floor of the rath . This pattern where tigers , elehpants , horses , riders all pile up one atop the other and each killing the other , is called mrityu lota - the chain of death in oconpgraphical terms . It is a popular motif on the edges of terracotta temple architecture .

'borshaa' is a technical name given to such motifs on the corners of the each floor of the rath . This pattern where tigers , elehpants , horses , riders all pile up one atop the other and each killing the other , is called mrityu lota - the chain of death in oconpgraphical terms . It is a popular motif on the edges of terracotta temple architecture .





Uma being brought to wedding mandap



Marriage of Mahadev



Ganga avataran - the descent of Ganges




Buddha ? Iconography of buddha was re discovered in 19th and 20th century under british archelogical finds . It is probable that the painter wasnt yet aqquainted with this iconography


Annapurna


Durga


Bheema Duryodhana fight ?


Kurma


Matsya


Kali


Sada bhuj Gauranga , the six armed manifestation of Chaitanya Mahaprabhu


Jhulan 



Kali


Hara Parvati


Varaha


Jugala


Sita ? The face shows the typical Kalighat style


Hara parvati


Jugala


Jagannath and Subhadra


Radha Gobinda


The wooden sarathi


Sita haran ? The abduction of Sita ?


Death of Sati