Jagannath Temple
The Jagannath Temple is situated on the eastern sea board in the town of Puri in
Odisha. Puri is an ancient town and one of the four celebrated pilgrimage centres
in India. The temple is a four chambered structure surrounded by a number of
miniature shrines and enclosed by a gigantic wall. It has four majestic directional
gates. The gate facing the East is adorned by two lion sculptures. This Lion Gate is the
main entrance to the temple. The other gates on the north, south and west have the
guarding images of elephant, horse and tiger. The main shrines in the complex are
of Nrusimha, Bimala and Lakshmi. Besides there are the Mukto Mandapa, assembly
of pandits; Anand Bazaar; Snana Mandapa and the Rosha Ghara, the kitchen.
Aruna Sthambha
Fronting the Lions’ Gate is a monolithic granite pillar of about 10 meters high.
The pillar originally stood in the temple complex of the Sun God at Konark and
subsequently was removed to Puri when the Sun Temple was deserted. Aruna,
the charioteer of the Sun God is mounted on top of this pillar which serves as the
first dis-embarking point for the devotees to enter the Puri Temple.
Baisi Pahacha
Soon after entering through the Lions’ Gate, one climbs the flight of 22 steps
named as Baisi Pahacha. The number 22 has a mysterious connotation and bestows
virtues who climbs these steps with devotion. The dust falling from the foot steps
of hundreds and thousands of devotees make the steps sacred and purify the
aspirants wishing to have darshan of The Lord.
Rosha Ghara
After ascending the 22 steps one arrives on a wide flat landing to enter the
temple. On to the left of this landing is the Rosha Ghara, the kitchen complex
of the temple where a great varieties of offerings are cooked for The Lord in the
most hygienic system. It is the busiest and the largest temple kitchen that serves
millions of pilgrims who visit Puri year the round. The earthen pots, kudua that
are used in the kitchen display a variety of shapes and sizes and are the handiwork of potter servitors of the temple who live in the suburbs of the Puri town.
The Chhapana Pauti Bhoga, fifty six offerings of The Lord, the kitchen cooks are
quite famous delicacies.
Ananda Bazaar
To the right of the landing is the Ananda Bazaar, the busiest food court where
devotees of various castes and creeds jostle to have a morsel of temple food that
brings them the highest satisfaction. The temple food is the offerings of the Lord,
which is known as the Mahaprasada that grants bliss and happiness, the Ananda.
Identified Daru of Lord Sudarsana
Identified Daru of Lord Balabhadra
Identified Daru of Devi Subhadra
Nabakalebara
Nabakalebara is the rarest and the grandest festival of the temple when the
enshrined wooden deities assume new bodies. The ceremony is observed on
the basis of the Hindu lunar calendar which displays two Asadha months in a
year. The time gap of the festival may vary from an interval period of 8 to even
19 years. The ritualistic rules and paraphernalia are laid down in the temple
chronicle, Madala Panji and other sacred texts. The Nabakalebara has a long
history and as revealed in the available documents, it commenced several
centuries back.
Daru Anveshana
The Daru Anveshana, looking for the suitable holy neem trees Azadirachta
indica in and around Puri t begins 65 days ahead of the great bathing festival
Devsnana Purnnima observed on the tenth day of the bright fortnight in
the month of Chaitra. A large contingent of temple servitors such as Pati
Mahapatra, Deula Karana, Tadau Karana, Behera Khuntia, Visvakarma along with
Badagrahi Daitas are led by the Lenka Sevaka holding the Sudarshan Chakra.
The procession is blessed by the Gajapati King, the first servitor of the Lord.
The group then reaches the temple of Goddess Mangala at Kakatpur after
resting at Jagannatha Ballabh Matha and Deuli Matha on the way. The temple
of Goddess Mangala assumes importance in the whole ceremony because
She directs the group in a dream to places where the suitable neem trees
could be found out. Before embarking on the final mission for locating the
trees as directed by the Goddess Mangala, they appease the Goddess in an
elaborate ritual and seek Her blessings.
The servitors in the group carry with them all kinds of ritualistic implements
and embellishments to be used in the Banajaga, forest rituals for felling the
trees. The forest ritual centres around two kinds of worship modes involving
the Daitas connected with primitive Sabaras and Brahmins signifying
classical and scriptural strata. While selecting the trees the following textual
specifications are strictly observed.
The colours of the trees should be according to the colours of the deities.
The tree should have desired number of main branches specific to the deities
and should stand near a river or a pond close to a cremation ground with a
Shiva temple and a hermitage nearby.
The tree should be free from parasite plants and creepers.
There should not be the nests of birds on the tree.
The tree must not have been struck by lightening.
Identified Daru of Lord Jagannatha
There should be an ant hill near the tree along with a few snake-holes at the
roots so that one should spot a few snake creeping around.
The trees should have insignia of the respective deities on their trunks such
as Sankha(Conch), Chakra(Disc), Gada(Mace), Padma(Lotus), Hala( Plough)
and Mushala(Pestle).
The tree should not stand alone but be surrounded preferably with the trees
of Varuna, Sahada and Bilva.
The forest ritual bestows divinity to the trees which are treated as the gross
body of the Lord known as Darubrahma. The sacred logs are loaded on to the
newly built cart, Sagadi. The carts now make their journey to the temple led
by Vishvakarma, the architect of the wooden images. The procession passes
through several towns and villages to the accompaniment of trumpets, drums,
gongs and crunches. The Sagadi receives worships and offerings by the devout
villagers on its way. In fact the procession offers the most colourful spectacle.
The sacred logs are taken to the temple through the northern entrance and
are kept in a specially built cottage, Nirmana Mandapa. This cottage serves
as the workshop for carving the images. This is the artistic ritual which is
undertaken secretly by the designated sculptors. The images are fashioned
on the basis of the details contained in old palm leaf manuscript which the
sculptors possess as their family heirloom. The artists observe all prescribed
purity while carving the images.
Snana Purnima
On the tenth day of bright fortnight in the month of Chaitra, the images are taken
to the Snana Mandapa, bathing porch where the images are given ritualistic bath
with consecrated water from a designated well, Suna Kua. While the newly built
images after receiving the ritualistic bath in the Nirmana Mandap are accorded
finalities, the old images are taken to a place called Koili Vaikuntha in the temple
complex for their final journey. During the absence of the wooden images in the
temple, the Pati-Dian (Pata painting of the Deities) are worshiped.
Consecration of the New Images
Consecration ceremony is extremely elaborate and performed in following five
phases.
· Preparation and worship of subsidiary images.
· Bathing ritual, Abhisheka of Nyasa Daru.
· Consecration of Nidra Ghata along with the procession of Nyasa Daru on a
specially built chariot.
· Observation of fire sacrifice and offering of final oblations, Purnnahuti by
Gajapati King, Acharya Brahmins and Daitapatis.
· Exchange of the divine essence, Brahma Padartha from the old to the new idols.
Sacred Burial and the Final Journey of Old Images
After the Divine essence are removed from the old and placed into new idols,
the old images are taken to the Koili Vaikuntha and are lowered into a specially
excavated area along with the old images, horse effigies and other wooden
decorations of the chariots. This concluding phase of the Nabakalebara is observed
in the families of servitors as funeral rituals with purificatory rites. The male
members of the family get their head tonsured.
Final touches to the New Wooden Images
After the change of the Divine essence, the images are given final touches by
applying seven layers of coating with resin paste, sandal paste, cloth, glue, liquid
chalk and pigments. At the final stage the images are rubbed with the soft round
stone to bring out the glaze. The line work is taken up there after. Painting the eye
balls, netradana is the most reverential artistic work. All these activities are carried
out secretly by specific servitors.
Nabajaubana Darshana and Ratha Yatra
On the new moon day of Asadha, the new images, complete in all respect, give
Darshana to the devotees and on the 2nd full moon day of Asadha, their Ratha
Yatra, Car festival is celebrated. The deities spend nine days in their summer
sojourn, Adapamandapa and return to the temple on the Niladri Bije day. This
marks the end of Nabakalebara festival in Puri.
Role of the Gajapati King
The Gajapati king of Puri accords his approval by handing over a consecrated areca
nut, Gua for the commencement of forest sacrifice. This ritual is performed through
the Rajaguru who acts on behalf of the Gajapati King. The King also participates in
the ritual of the final journey of the deities by offering oblations in the sacred fire.
Role of Sevayats
The ritualists who serve the Lords in Jagannath temple are called the Sevayats or
servitors. Their services are hereditary, which have been specified in the Record of
Rights documents. With passage of time, the number of servitors such as Priests,
Daitapatis, Chitrakaras, Rupakaras, Pushpalakas, Mukha Singharis, Mahari, etc.
has increased.
Rituals of Nabakalebar 2015
29th March
Commencement of Banajaga Yatra
30th March
Midnight journey to Deuli Matha
2nd April
Night rest at Deuli Matha
3rd April
Ritual offerings to the Goddess Mangala at Kakatpur
4th April -17th May
Journey in search of the Sacred trees
2nd June
Deba Snana Purnima
5th June
Start off Making of Idols
15th June
Change of Brahma Padartha from old to new idols
17th July
Nabajaubana darshana, vision of new images
18th July
Ratha Yatra, Car Festival
22nd July
Hera Panchami
26th July
Bahuda Yatra, the Return car festival
27th July
Sunabesha, Golden attire of the deities
29th July
Niladri Bije
Other Information
Accommodation
Collector & District Magistrate, Puri
Tel: 06752 - 222034 Fax: 223939
Email: [email protected]
Puri has a range of Hotels starting from low budget
to 5 star hotels. This information is available in www.
odishatorism.gov.in
Superintendent of Police, Puri
Tel : 06752 - 225400
Email: [email protected]
How to Reach Puri
Temple Administrator, Puri
Tel: + 91-6752-222002 / 252900
Email: [email protected]
Tourist Officer, Puri
Tel: 06752 - 222664
Email: [email protected]
[email protected]
Air: The nearest airport is in Bhubaneswar 60 km away
from Puri. Air-India has flights from Kolkata, New Delhi,
Chennai, Mumbai and other Airlines like Indigo, Go Air
have flights connecting different parts of the country.
Rail: Puri, a terminus of East Coast Railway is well
connected with other major cities and metros of India
with fast & superfast trains.
Road: Puri is 60 km from Bhubaneswar and 35 kms
from Konark on the marine drive. It is well connected by
excellent roads.
For more information, please visit
www.nabakalebara.gov.in / www.visitodisha.org
facebook.com/nabakalebaraofficial
twitter.com/nabakalebaraoff
Department of Tourism
Paryatan Bhawan, Bhubaneswar-7510104 Odisha, India.
Phone: +91 674 2432177 / 2431896, Fax: +91 674 2430887
Email: [email protected]
Website: www.odishatourism.gov.in
Online Booking: www.visitodisha.org
Toll Free 1800 208 1414
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