Durga Pujo has been used by zamindars and aristocratic families of Bengal since time immemorial as an expression of grandeur to celebrate the festivities of the season in their own style. Along with paying their tribute to the goddess these ‘Bonedi Barir’ pujos show how tradition and culture have been borne by these families till date. These rituals are what makes them so different from the countless and richly financed ‘Barowari’ pujos. The growing interest of people, amateur and professional photographers and press prove that Durga Puja is not only about theme and winning prizes. It is more about deep rooted traditions, rituals and culture. And where best to find them all than the Bonedi Bari Pujos of North Kolkata.
The Daws of Jorasanko have been celebrating Durga Puja in their Thakurdalan since 1859. Late Sri Narasingha Chandra Daw started this Pujo in the Thakurdalan and it is being observed with the same rites, rituals and tradition till date by the present generations. The baton has been passed on from generation to generation, but traditions and rituals have mostly remained unchanged and the observance of this pujo adheres to strict religious sanctity following the Brihannandikeshwar Purana according to Vaishnav rituals.
The Daws of Jorasanko have been celebrating Durga Puja in their Thakurdalan since 1859. Late Sri Narasingha Chandra Daw started this Pujo in the Thakurdalan and it is being observed with the same rites, rituals and tradition till date by the present generations. The baton has been passed on from generation to generation, but traditions and rituals have mostly remained unchanged and the observance of this pujo adheres to strict religious sanctity following the Brihannandikeshwar Purana according to Vaishnav rituals.
Although Durga Pujo comes in the month of Ashwin, for us the preparations start in the month of Sravan on the auspicious day of Rathayatra when “Kathamo Pujo” is observed. One of the pieces of wood (Garan Kaath) needed to create the idol of Ma Durga is worshipped and this marks the beginning of creating the idol. This piece of wood, from this date is considered a part of the Goddess and is then used as to support the frame that is made into the idol of Ma Durga.
An artisan family from Howrah has, since generations, worked on creating the idol. Ritualistically the first clay work is completed within three weeks and the next phase of clay is started after 21 days. Then through various stages of work, Ma Durga is brought into the form that is ready for all to see and pay their regards through the last five days of the Okal Bodhan.
An artisan family from Howrah has, since generations, worked on creating the idol. Ritualistically the first clay work is completed within three weeks and the next phase of clay is started after 21 days. Then through various stages of work, Ma Durga is brought into the form that is ready for all to see and pay their regards through the last five days of the Okal Bodhan.
Then on an auspicious day, the idol, now complete with the clay work, is raised on an elevated platform, is draped a saree, and is provided with a shamiyana on top. All this is done by male members of the family.
Slowly with time, the clay dries appropriately as the winds bring in the autumn breeze and on ‘Protipod’ (The day after Mahalaya), the artisan starts to put the first coat of paints. The women of the family welcome the goddess formally to their house on this same day through the ritual of ‘Bodhon’. Ma Durga, Ma Lakshmi and Kartick are painted in the same yellow color, while Saraswati is colored white and Ganesha pink. The lion is colored white and draped with a cloth and Mahishasura is colored green. This process is completed within the next four days and then one by one the various decoration pieces are added.
Slowly with time, the clay dries appropriately as the winds bring in the autumn breeze and on ‘Protipod’ (The day after Mahalaya), the artisan starts to put the first coat of paints. The women of the family welcome the goddess formally to their house on this same day through the ritual of ‘Bodhon’. Ma Durga, Ma Lakshmi and Kartick are painted in the same yellow color, while Saraswati is colored white and Ganesha pink. The lion is colored white and draped with a cloth and Mahishasura is colored green. This process is completed within the next four days and then one by one the various decoration pieces are added.
However, the decoration remains incomplete till Shashthi evening by when the goddess and all the other gods are draped with jewellery items made of gold and silver. It is believed that the Goddess visits this household and rests here as a daughter would come to her parents'.
And finally, with the ‘Sondhyaroti’ on Shashthi evening, the idol is believed to be infused with life and the family spends the next few days in her honor.
And finally, with the ‘Sondhyaroti’ on Shashthi evening, the idol is believed to be infused with life and the family spends the next few days in her honor.
The women of the Daw household spend the entire year waiting for these few days. While some are homemakers, some run their own agencies, and some work in offices all the year round, living a life as mundane and regular as any other woman. But during these few festive days, unlike all the other women, they do not want to leave home or go anywhere else.
From the break of dawn till the night, all that they are concerned about is making arrangements for the pujo. They wear silk sarees while working on or with any item that has to do with the pujo rituals. Age does not act as a barrier in this, while the elders guide, the younger generation is slowly learning how to perform all the rituals as they should be done. One of them does the 'Samkalpa' for the pujo, representing all the members of the household in worshiping the goddess. Starting from the day of Bodhon, this lady observes religious rituals and eats 'satvik' food and strictly adheres to all religious rules.
From the break of dawn till the night, all that they are concerned about is making arrangements for the pujo. They wear silk sarees while working on or with any item that has to do with the pujo rituals. Age does not act as a barrier in this, while the elders guide, the younger generation is slowly learning how to perform all the rituals as they should be done. One of them does the 'Samkalpa' for the pujo, representing all the members of the household in worshiping the goddess. Starting from the day of Bodhon, this lady observes religious rituals and eats 'satvik' food and strictly adheres to all religious rules.