1. “Dwarpitha and Mangal Aarati” at 5 a.m

Dwara means door or entrance and Dwaraphita means opening of doors and Mangala arati refers to auspicious lamp offerings to the deities early in the morning.
The door opens early in the morning in the presence of five specific sevayats namely (1) Bhitarachha Mahapatra, (2) Pratihari, (3) Muduli, (4) Akhanda Mekapa and (5) Palia Mekapa after verification of the “seal” given by a particular sevayat known as Taluchha Mahapatra in the last night. Soon after the opening of the door, Mangal Aarati is performed.

2. “Mailam” at 6 a.m.

This means removal or taking off the clothes, dress, flowers, tulasi etc. of the previous night. The schedule time of this niti is about 6.00 am in the morning. But it depends on the time taken for Mangala arati. The sevakas associated with this niti are (1) three Pushpalakas, (2) Khuntia, (3) Changda Mekapa and (4) Dhoba. Pushpalaka sevakas change the clothes, flowers and tulasi leaves of the deities worn on the previous night. After removal of clothes, the deities wear another set of clean and washed clothes. It is known as tadapalagi. The clothes are called “Tadapa” and “Uttariya” like towels. These are made of cotton worn by the deities for morning bath. As per the tradition, these clothes are washed by the Dhoba sevaka in the kunda (water tank) near Bata Ganesa. This Dhoba sevaka is actually Brahmin by caste.

3. “Abakash” – 6 a.m. to 6.30 a.m

Purificatory rites like brushing of teeth and bath is known as “Abakash”. At this time, Temple Jyotishi [Astrologer] reads out the tithi [day and date] and other astrological details of the day and according to that, that day’s rituals are performed.

4. “Mailam” 6.45 a.m.

At this time, deities change their clothes [Tadap and Uttariya] and wear another set of clothes. A sevak known as “Akhanda Mekap” keeps in the sanctum Akhanda Baitha i.e. one lamp which burns till “Pahuda” or the time of the retirement of the deities to bed.

5. “Sahanamela” – 7 a.m. to 8 a.m.

Though this is not a part of the rituals, but about one hour is spent to facilitate pilgrims to go up to “Ratnavedi” or inner sanctums to have a Darshan, without paying fees for it. On certain festive days, Sahanamela is held after “Sandhya dhupa” [Evening Puja or Sandhya Aarati in the month of Kartik] and after Sakaldhupa [in the month of Pausha]. Some times, this darshan is not allowed for some special rituals of the deities.

6. “Beshalagi” – 8 a.m.

After Sahanamela the deities are again dressed up which can be witnessed from a little distance i.e.” Bhitara Katha”. At this time, Deities are also adorned with gold and precious stones to suit different festive occasions.

7. Rosha Homa Surya Puja and Dwarapal – 8 a.m. to 8.30 a.m.

While some sevayats are busy with vesha lagi or the Deities, Pujapandas at that time perform “Rosha Homa” [Fire Sacrifice] at the kitchen and “Surya puja” at the surya temple near “Mukti Mandap”. Then the images of two gate keepers named Jaya and Vijaya on the entrance of the Jagamohan of the temple are worshipped.

8. Gopala Ballava Puja – 9 a.m.

The prescribed time is 9 A.M. This is the time for breakfast of the deities. At this time sweet popcorn [Khai], Khualadus, Coconut sweets [Kora], Ripe banana, Curd, and chipped coconuts etc. are offered as bhogas. Puja is performed in a brief manner with pancha upachar only.

9. Sakala Dhupa (Morning food offering) 10 a.m

At this time, puja is performed by three Pujapandas with 16 Upachars or Sodasha Upachars. Three Pujapandas used to sit on Ratnasinhasana to worship three deities Shri Balabhadra, Subhadra, and Lord Jagannath. The Pujapanda who worships Lord Jagannath also worships Sri Devi, Bhudevi, and Sudarshan. The morning bhoga or food offered to the deities contains Rice, Kanika, Khechudi, Green leaves, Cakes etc. The local names of the Bhog are Pitha Puli, Hansakeli, Kanti, Enduri, Matha Puli, Kakatua Jhili, Bundia, Kadali Bhaja, Ada Pachedi [ginger tonic] etc.The cost of the dhoop Pujas and Ballavs are borne by the temple administration. Previously, Raja-Superintendent of the temple, used to bear the cost of materials for preparation of Bhoga. So these Bhogas are also called “Raja Bhoga” or “Kotha Bhoga”.

10. Mailam and Bhoga Mandap:

After Morning Dhupa or Puja the Deities change their clothes and again Puja takes places in “Bhoga Mandap”, a place behind the Garuda pillar of Jagamohan. Huge quantity of Bhogas such as Rice, Dal, Curries, Saga and Cakes of different kinds etc. are offered to the Deities. Pujapandas worship this bhog with Pancha Upacharas. The cost of Bhoga Mandap offerings are not borne by the state or temple administration. This bhoga is mainly prepared to meet the need of different mathas [Monasteries] and for sale to the general public. According to the demand, Bhogamandap Puja is made twice or thrice a day i.e. after “Madhyanha Dhoop” and “Sandhya Dhup” also.

11. Madhyanha [Afternoon food offering] 11 A.M. to 1 P.M.

Like Sakal Dhupa, this puja is also performed with Shodasha Upachar in the afternoon. The Bhoga items are more in number than that of Morning Dhupa. One can go near to the “Ratna Simhasan” for darshan by paying special Darshan fee of Rs. 10/- after Madhyanha Dhupa and Sakal Dhupa.

12. Madhyanha Pahudha – 1 p.m. to 1.30 p.m

If rituals have been performed in time and if time permits, the Deities retire for the afternoon.

13. Sandhya Aarati

In the evening again aaratis are performed after Madhyana Dhupa Mailam. On Ekadashi day, the deities change their clothes and wear another set after “Aarati” is over.

14. Sandhya Dhupa – 7 p.m. to 8 p.m

After “Sandhya Aarati” again Bhogas are offered to the deities in the same manner like Sakala and Madhyanha Dhupa but this time, Bhoga amount is less in quantity and number. After Puja, again lamp offering is made which is called as “Jaya Mangala Aarati”.

15. Mailam and Chandana lagi

After “Sandhya Dhoopa” deities change their clothes and are annointed with Sandal paste mixed with champhor, keshar and Kasturi. One can witness this ritual by paying special Darshan fees of Rs. 10/-.

16. Badashringar Vesha

After chandanalagi, the deities are dressed up again which is known as Badasinghara besa. This time they wear Baralagi pata (silken robes). Some portion of the Gitagovinda of Jayadeva is woven into the texture of these robes. The deities wear flower, flower garlands and floral headgear. This besa is very attractive to look at. It is worth mentioning that Jagannath Ballabha Matha supplies flower ornaments like Tilaka and Jhumpa for this besa of the deities. Similarly, the Emar Matha supplies Chandrika and Chausara, made of flowers for this besa of the deities.

17. Badashringara Bhog

This is the last bhoga of the day offered around 11.00 pm at night. For this, bhoga puja is performed by the Pujapanda sevakas following the principle of Pancha upacharas, sitting on the floor down the Ratnavedi. This time the quantity of bhoga is much less and the items are Pakhala and Kanji, some fries like Kadalibada and sweets like khiri. Thereafter, the Badasinghara Dhupa alati is offered to the deities by the Pujapanda sevakas.

18. Khata Seja Lagi and Pahuda 12.00

The bedsteads of the deities are arranged. The Deity of “Sayan Thakura” is carried from Bhandarghar to Ratnavedi or Ratnasimhasana and place the deity near Lord Jagannath. Then follows offering of green coconut, betels and camphor aarati and then deities retire to their beds. The door is sealed then by the Sevayat [Talichha Mohapatra]. Temple is closed and no visitors or outsiders are allowed to remain inside.

This is in brief the daily rituals observed in the temple. It is generally not possible to follow the time prescribed for each ritual on account of various practical difficulties. On the specific festive days, additional rituals are performed. As a result, changes in timings and alterations in the routine rituals are made.

The Ratha-yatra festival, the parade of the chariots of Lord Jagannatha, Subhadra and Balarama, is yearly celebrated at the home of Lord Jagannatha in India called Jagannatha Puri. At Jagannatha Puri, Lord Jagannatha is worshiped in one of the oldest temples in India. The story of how Lord Jagannatha appeared is a very interesting episode in Vedic history.

King Indradyumna was a great devotee of Lord Vishnu and was very eager to meet Him face to face. One time, by the Lord’s arrangement, a devotee of the Lord arrived in the court of King Indradyumna, and in the course of discussion he began to talk about an incarnation of Lord Vishnu named Nila- madhava. After hearing these topics, King Indradyumna became very inspired and sent different brahmanas in different directions to search and inquire about Lord Nila- madhava. All of them, however, were unsuccessful and returned to the capital city of the King, except for one priest of the name Vidyapati. After wandering in many places, Vidyapati finally came to a district whose population was of a non-Aryan type called Sabara. There he took shelter in the house of a local named Vishvasu. When he arrived, the master of the house was not there, but his young daughter, Lalita, was there alone. In short time, the master of the house returned and instructed his daughter to render all service needed for hospitality to the brahmana guest. For some time Vidyapati stayed there, and later, by the special request of the Sabara, he married the Sabara’s young daughter.

While Vidyapati lived in the house of the Sabara, he noticed some peculiarity in his host’s behavior. Every night the Sabara would go out, and on the next day at about noon he would return to the house scented with various fragrances such as camphor, musk and sandalwood. Vidyapati inquired from his wife about the reason for this, and she informed him that her father would go out to a secret place to worship Sri Nila-madhava.

After that day, Vidyapati’s joy knew no bounds. Actually Lalita had been ordered by her father not to tell anyone about Sri Nila-madhava, but she overstepped that order by telling her husband. Vidyapati immediately became eager to see Sri Nila-madhava, and finally one day, by the repeated request of his daughter, the Sabara Vishvasu bound the eyes of Vidyapati and took him to see Sri Nila-madhava. As they were leaving, Vidyapati’s wife. secretly bound some mustard seeds in the border of Vidyapati’s cloth, and so while passing on the path he threw them down to mark the way. When they reached Sri Nila-madhava the Sabara removed the blindfold, and Vidyapati, seeing the unprecedented beauty of the Deity of Sri Nila-madhava, began to dance in ecstasy and offer prayers.

Here it is clearly seen that Sri Nila-madhava was a Deity incarnation of the Supreme Lord. Deity incarnations are called arca-vigraha.The Lord appears in Deity forms to benefit His devotees, especially those who are less advanced. Since the Lord cannot be seen by any but the most advanced devotees, He appears as the Deity to accept worship. Krishna says in Bhagavad-gita (9.34),

man-mana bhava mad-bhakto
mad-yaji mam namaskuru

“Always think of Me, become My devotee, worship Me and offer Me your obeisances.” Therefore He appears as the Deity to accept the worship and obeisances of His devotees. He puts Himself in the hands of His devotees to receive their service and help them develop love for Him. This is an aspect of Krishna’s great mercy and His desire to free all the conditioned souls from bondage in this material world. Thus Vidyapati personally witnessed the mercy of Sri Nila-madhava.

After Vidyapati finished his prayers, the Sabara kept him near the Deity and went out to collect roots and forest flowers for worship. While the Sabara was out, Vidyapati witnessed an astounding thing. A sleeping crow fell off a branch of a tree into a nearby lake and drowned. It immediately took a four-armed Vaikuntha (spiritual) form and started back to the spiritual sky. Seeing this, the brahmana climbed up the tree and was about to jump into the lake, following the liberated crow.

As he was about to jump, however, a voice in the sky said, “O brahmana, since you have been able to see Sri Nila-madhava, you should before all else inform King Indradyumna.” Thus the brahmana climbed down from the tree and waited.

The Sabara soon returned carrying forest flowers and roots and started his daily worship of Lord Nila-madhava. As he was engaged in the service of the Lord, the Lord spoke to him, saying, “I have for so many days accepted the simple forest flowers and roots offered to Me by you. Now I desire the royal service offered to Me by My devotee King Indradyumna.

When the Sabara heard this, he thought, “I shall be cheated from the service of Sri Nila-madhava!” Therefore he bound his son-in-law Vidyapati and kept him in his house. After a time, however, at the repeated request of his daughter, he freed the brahmana and allowed him to go. The brahmana then immediately went to King Indradyumna and informed him of the discovery.

The King, in great ecstasy, went forth with many people to bring back Sri Nila-madhava. From the mustard seeds thrown along the path by Vidyapati, small plants had grown. So by following these plants the King was able to trace the path to Sri Nila-madhava. When they reached the spot, however, they did not find Him.

Not able to see the beautiful form of the Lord, King Indradyumna besieged the village of the Sabaras and arrested the Sabara named Vishvasu. Suddenly, however, a voice in the sky said to the King, “Release this Sabara! On top of Nila Hill you should construct a temple. There as Daru- brahman, or the Absolute Truth manifest in a wooden form, you will see Me. You will not see Me as Nila-madhava.”

To build the temple, King Indradyumna made arrangements to bring stone from a place called Baulamala by building a road from there to the Nila-Kandara Hill. The holy abode of Sri Kshetra, or Puri, is in the shape of a conch, and in the navel of that conch the King established a town of the name Rama- Krishna-pura and constructed the temple. The temple extended 60 cubits beneath the earth and rose 120 cubits above the surface. At the top of the temple the King built a kalasa or round pinnacle, and on top of that a cakra or disc. He also had the temple decorated with golden ornamentation. Then King Indradyumna, desiring for Lord Brahma to consecrate the temple, traveled to Brahmaloka and spent a long time there waiting for him. During that time, the temple, which was very near the sea, became covered with sand from the shore.

When King Indradyumna was away, first Suradeva and then Galamadhava took over as the kings of that area. It was Galamadhava who raised the temple from within the sands, where it had been buried for a long time. Shortly after the temple was uncovered, however, King Indradyumna returned from Lord Brahma’s abode. Indradyumna claimed that he had constructed the temple, but Galamadhava put forward the claim that he was its constructor. In a banyan tree near the temple, however, lived a bhushandi crow who had been living through many ages, constantly singing the name of Lord Rama. From his abode on the branches of that banyan tree, the crow had seen the whole construction of the temple. Therefore he made it known that actually King Indradyumna had constructed the temple and that in his absence it had been covered by sand. He further said that King Galamadhava had later merely uncovered the temple. Because King Galamadhava had concealed the truth, Lord Brahma then ordered him to reside outside the grounds of the temple, on the western side of the lake called Indradyumna-sarovara.

Indradyumna then prayed to Lord Brahma to consecrate the temple and the surrounding area, known as Sri Kshetra which gives the highest type of liberation. But Lord Brahma said, “This Sri Kshetra is manifested by the Supreme Lord’s own internal potency, and the Supreme Lord manifests Himself. Therefore it is not within my power to install the Lord here. Lord Jagannatha and His abode are eternally situated in this material world by His own mercy. Therefore I shall simply place a flag on top of the temple and give this blessing: anyone who from a distance sees this flag and bows down, offering his prostrated obeisances, shall easily become liberated.” After some time, King Indradyumna became discouraged at so much delay in seeing Sri Nila-madhava. Deciding that his life was useless, he lay down on a bed of kusha grass, being determined to give up his life by fasting. At that time Lord Jagannatha spoke to him in a dream as follows: “My dear King, don’t be anxious. I shall come floating in from the sea in My wooden form as Daru-brahman at the place called Bankimuhan.” With a company of soldiers, the King then went to that place and saw on the shore a huge piece of wood marked with a conch, disc, club and lotus. Although he engaged many men and elephants to move that Daru-brahman, or woody Brahman, they couldn’t even budge it. But that night in a dream Lord Jagannatha again spoke to the King, saying, “Bring My previous servant Vishvasu, who used to serve Me as Nila- madhava, and place a golden chariot in front of Daru- brahman!”

The King began to work according to the instruction of that dream. He brought the Sabara Vishvasu and put him on one side of Daru-brahman, and on the other side he put the brahmana Vidyapati. Placing a golden chariot before the Daru-brahman, he then started kirtana, chanting of the holy names of the Supreme Lord. Then the King caught hold of Daru-brahman and prayed for the Lord to mount the chariot. Daru-brahman was then easily placed on the chariot and taken to an appointed place. There Lord Brahma began a sacrifice and established a Deity of Lord Nrisimhadeva on the raised platform of the sacrifice. It is said that the place where the present temple stands is the place where the sacrifice was performed and that the Nrisimha Deity now standing at the western side of the Mukti-mandapa in the temple compound is that original Nrisimha Deity.

To carve the Deity of Lord Jagannatha from the Daru- brahman, King Indradyumna called many expert sculptors. None of them, however, was able to touch Daru-brahman, for as soon as they started, their chisels broke and fell to pieces. Finally the Supreme Lord Himself came in the disguise of an old artist who introduced himself as Ananta Maharana.* [According to the Narada Purana (Utkala Khanda 54.22-65), the artist Vishvakarma, the architect of the demigods, carved the Deities in pursuance of the desire of Lord Vishnu, who had assumed the form of an old brahmana.] He promised that if he were allowed to work behind closed doors for twenty-one days, the Deity would be carved. Immediately preparations were made. According to the old sculptor’s directions, all the other artists were engaged in making three chariots. The old sculptor then took Daru-brahman into the temple and closed the doors, after making the King promise that the sculptor would reside alone and the King would not open the doors of the temple even slightly before the twenty- one days were completed. After fourteen days had passed, however, the King was unable to hear the sounds of the artist’s tools, and so he became full of anxiety. Although his minister again and again forbade him, the King, on the advice of his queen, by force opened the door of the temple with his own hand.

Inside, the King did not find the old sculptor, but instead he saw that Daru-brahman was manifested in three forms, as Lord Jagannatha, Subhadra and Balarama. Going forward in front of these three Deities, he saw that Their fingers and toes were unfinished. The King’s wise minister then informed him that the architect was none other than Lord Jagannatha Himself and that because the King had broken his promise by opening the doors seven days too soon, Lord Jagannatha had manifested Himself in that way.

Then the King, thinking himself a great offender, decided to end his life. Thus again he lay down on a bed of kusha grass and began fasting. When half the night had passed, Lord Jagannatha appeared to the King in his dreams. The Lord said, “I am eternally situated here in Nilacala in the form of Lord Jagannatha as Daru-brahman. In this material world, I descend in twenty-four Deity incarnations with My abode. I have no material hands and feet, but with My transcendental senses I accept all the items offered in service by My devotees, and for the benefit of the world I move from one place to another. You have broken your promise, but that is just a part of the sweetness of My pastimes to manifest this Jagannatha form, which protects the eternal words of the Vedas.Anyway, those devotees whose eyes are smeared with the salve of love will always see Me as Syamasundara, holding a flute. If your desire is to serve Me in opulence, then from time to time I may be decorated with hands and feet made of gold or silver. You should certainly know, however, that My limbs are the ornaments of all ornaments.”

The Vedas assert, specifically in the Svetashvatara Upanishad (3.19):

apani-pado javano grahita
pashyaty acakshuh sa shrinoty akarnah
sa vetti vedyam na ca tasyasti vetta

“Without legs and hands, He moves and accepts. Without eyes He sees, and without ears He hears. He knows all that is knowable, but no one knows Him. They call Him the original Supreme Person.” To protect this assertion of the Vedas,Lord Jagannatha takes His form without hands and legs. Still, Lord Jagannatha is able to accept fifty- six different types of food, offered eight times daily, and He tours the world in His splendid carts.

Hearing the words of Lord Jagannatha in his dream, the King became satisfied and prayed to Him as follows: “My Lord, grant that those who appear in the family of the sculptor who manifested Your form may age after age assist in constructing the three carts.”

Lord Jagannatha, slightly smiling, replied, “That shall be”. Then Lord Jagannatha said to the King, “The descendants of Vishvasu, who used to serve Me as Nila-madhava, should generation after generation serve Me. They may be called as My dayitas.The descendants of Vidyapati born from his brahmana wife should perform the Deity worship Me. And his descendants born from his Sabari wife, Lalita, should cook My food. They shall be known as suyaras.”

Then King Indradyumna said to the Lord Jagannatha, “My Lord, kindly grant one favor to me. Let the doors to Your temple be closed for only three hours a day. The rest of the time, let the doors be open so that all the residents of the universe may have access to see You. Further, let it be that all day long Your eating may go on and that Your lotus fingers may thus never become dry.”

Lord Jagannatha replied, “Tathastu, so be it. And for yourself, what benediction do you ask?”

The King replied, “So that no one in the future will be able to claim Your temple as his own property, I desire to be without descendants. Kindly just grant me this one benediction.”

Lord Jagannatha replied, “ Tathastu,so be it.”

Thus the merciful Lord Jagannatha, Subhadra and Balarama appeared in this material world to benefit all living beings. What is the benefit They bestow? That is stated in the Narada Purana (U. Kh.52.12):

pratimam tatra tam drishtva
svayam devena nirmitam
anayasena vai yanti
bhavanam me tato narah

The Supreme Lord Narayana tells Lakshmi-devi, “In that great abode known as Purushottama-kshetra, which is rarely achieved among all the three worlds, the Keshava Deity, who was fashioned by the Supreme Lord Himself, is situated. If men simply see that Deity, they are easily able to come to My abode.” In this way Lord Jagannatha is delivering the whole universe, especially as He rides on His cart before the eyes of all. Therefore I offer my prostrated obeisances to Lord Jagannatha, Subhadra and Balarama on the occasion of Their chariot ride and pray for Them to forgive me for any offenses I have committed in my clumsy attempt to describe Their glorious appearance.

Every year on the auspicious day of Ashadh Sud 2, in early July, the Rath Yatra festival celebrated by Hindus. Rath means chariot, Yatra – a pilgrimage or procession. Though this festival is celebrated all over India and world, it originated in Jagannath Puri on the eastern coast of India. Every year the deities of Jagannath Mandir – Lord Jagannath, Balaram and Subhadra – are traditionally installed on huge chariots. Devotees pull the chariots in a yatra (procession) through the street called Bada Danda. The local king used to serve humbly sweeping the road ahead with a golden broom.

HISTORY

Ratha Yatra 2003 1st July, Tuesday Ratha Yatra 2004 19th June, Saturday Ratha Yatra 2005 8th July, Friday Ratha Yatra 2006 27th June, Tuesday Ratha Yatra 2007 27th June, Wednesday Ratha Yatra 2008 4th July, Friday Ratha Yatra 2009 24th June, Wednesday Ratha Yatra 2010 13th July, Tuesday Ratha Yatra 2011 3rd July, Sunday Schedule of rituals on Rath Yatra (Car Festival) – 3rd July 2011 4:00 AM : Aarati 4.25 AM : Mailam 6:00 AM : Rosha Homam, Surya Pooja 7:00 AM : Goopala Ballabha Darshan 7:10 AM : Pongal Naivedyam 8:45 AM : Establishment of Ratha 9:30 AM : Pahandi Yatra start (Journey of Deities from Shree Mandir to Ratha) 12:00 PM : Phandi Yatra end 1:00PM to 1:30PM : Puri King Divya Singh Dev Comming to Pallaki 1:45PM to 2:30PM : Chheraa Paharaa, Aarti 3:00PM to 3:15PM : Tag Hourses to Ratha 3:30 PM Onwords : Start of Rath Yatra (Three ratha move towords Gundichaa Mandir)

CELEBRATIONS

Amidst the resounding clash of cymbals, and the tumultuous thundering of drums, the three Gods, Jagannath, his brother Balabhadra and sister Subhadra leave Their abode, the Jagannath temple, and journey to Gundicha Mandir, three kilometers away from Jagannath temple towards north. Millions of devotees flock to the town to watch the trinity ride in their elaborate chariots through the streets of Puri. On all auspicious occasions, special ceremonies and rituals are performed replete with pomp and splendor in the temples of Puri, but nothing matches that of the Rath Yatra. Since the portals of the Jagannath temple allow entry only to Hindus, one of the gods, Maitri Devta, who symbolizes universal brotherhood, steps outside during this time so people of all religions and castes can pay obeisance. A spiritual ambience pervades the whole scene as bells chime; conch shells blow and the saffron robed sadhus dance with abandon. It is fascinating to watch the delirious masses paying homage to the Lord as the chariots move on almost as if propelled by a divine force.

RITUALS

A fortnight before the Rath Yatra, the three deities are given a holy bath on an open platform – the Snana Vedi near Aananda Bazaar on the eastern side of the temple. Since the images become discolored as a result of the bath, they are kept away from the public. At this time, the deities are said to be ill and are left to rest in isolation. A day before the procession, three gigantic chariots are exquisitely decorated and lined up outside the temple gates. Lord Jagannath’s chariot, the red and yellow Nandighosh, is about 45 feet in height with 16 massive wheels and a gold dome on top. The red and green Taladhwaj is only slightly smaller and belongs to Balabhadra. The smallest, Darpodalona belongs to Subhadra, who travels between the chariots of her two brothers. These grandiose structures, with brightly colored canopied tops, resemble the 12th century Jagannath temple in shape. Embellished and decorated with tinsel and ancient accessories, each of the chariots has a large platform covered with huge flower umbrellas. On the morning of the Yatra, the rhythmic clang of metal gongs, blowing of conch shells and trumpets and chanting of holy men fill the air as priests called Daityas bring out the bedecked deities to their rathas. Lord Jagannath makes his appearance first, amidst ecstatic cries of ‘Jai Jagannath’. The overwhelmed jubilant crowds work themselves into a state of devotional frenzy, as if hypnotized by the large eyes of their beloved Lord. The procession then awaits the arrival of the Gajapati or the King of Puri. The king comes in a traditional palanquin, following a procession of decorated elephants and horses. The King of Puri is a descendant of the royal family of Orissa and has complete control over the management and property of the Jagannath temple. He performs the Chhera Paharna, to express his humility before God. He sweeps the chariots with a gold broom and sprinkles holy water on them. There is a deafening roar of cheer as the procession inches ahead. Balabhadra the eldest brother takes the lead followed by Subhadra and Jagannath. The chariots are drawn by 50-metre long ropes attached to their front. Devotees surge ahead for an opportunity to give a hand in pulling the ropes, as it is believed that this will absolve them of all their sins and help them attain salvation. One of the unique rituals of this procession is the Lord’s visit to his aunt’s house. It is said that the three siblings do not like visiting their aunt who is said to be mean. However, the three go to the mashibari after being ritually scolded by the head priest.

DETAILS

Description Jagannatha’s ratha is marked with a cakra and garuda, is yellow in color, with four white horses. The protecting deity is Nrsimha. Baladeva’s cart is green, with a palm tree insignia, and four black horses. The protecting deity is Sesa. Subhadra’s cart is black, with lotus insignia, protected by Vanadurga. Name of the Chariot Nandighosha Taladhwaja Devadalana Presiding Deties Lord Jagannath Lord Balabhadra Devi Subhadra Colour of The Cloth Yellow, Red Green, Red Black, Red Height 33 Feet 32 Feet 31 Feet No. of Wooden log used 832 763 593 Length and Breadth 34 Feet 6 Inch X 34 Feet 6 Inch 33 Feet X 33 Feet 31 Feet 6 Inch X 31 Feet 6 Inch No. of wheels and their heights 18 (Now 16) / 6 Feet 16 (Now 14) / 6 Feet 6 Inch 12 / 6 Feet 8 Inch No. of side deities 9 deities and the 2 door guard deities 9 deities and the 2 door guard deities 9 deities and the 2 door guard deities No. of horses and their Colour 4 / White 4 / Black 4 / Red

VIDEO

a) Sri Kshetra Parikrama by H.H Bhakti Purshottam Swami,

b) Jagannath Puri Guide Book by H.H Mahanidhi Swami,

c) Jaya Jagannath by H.G Dhruva Maharaj das.

d) Jagannath Puri Yatra lectures – ISKCON CHOWPATTY.

http://audio.iskcondesiretree.info/index.php?q=f&f=/05_-_ISKCON_Chowpatty/96_-_Yatra/Jaganath_Puri_yatra