Shakta Rash

Ras festival mainly part of Vaishnavism. During the time of Chaitanya Mahaprabhu, Rash Yatra was started in Nabadwip as a Vaishnava festival. While the Ras festival primarily centers around Vaishnavism, commemorating Lord Krishna's divine play, the Shakta Ras reflects a unique integration of Shakta (Goddess-centric) traditions within the Ras celebrations. This syncretism is evident in the worship practices, where deities from both Vaishnava and Shakta traditions are honored, and in the transformation of the festival over centuries. Over time, the Shakta elements gained prominence, showcasing the coexistence of Vaishnava and Shakta beliefs in the local culture.

In the introductory phase, the Ras festival was celebrated through the worship of pot (painted scrolls). Because of this, Raas Purnima became known among Shaktas as "Pot Purnima".{{Cite book |last=Modak |first=Dr. Banshidher |title=Bhagaban Sri Krishner Raslila o Nabadwiper Rash Utsava |publisher=Benu Gopal Modak |date=22 October 1991 |location=Nabadwip |pages=47 |language=Bn}}{{Cite book |last=Hunter |first=William Wilson |url=https://books.google.com/books?id=DGIOAAAAQAAJ&pg=PA3 |title=A Statistical Account of Bengal: Districts of Nadia and Jessore |date=1875 |publisher=Trübner |volume=II |location=London |pages=56 |language=en}} But as potters from other regions—especially under the patronage of local royalty, such as Maharaja Krishnachandra, settled in Nabadwip, clay idol worship gradually took root.{{Cite book |last=Heierstad |first=Geir |url=https://books.google.com/books?id=E7s1DgAAQBAJ |title=Caste, Entrepreneurship and the Illusions of Tradition: Branding the Potters of Kolkata |date=2017-01-02 |publisher=Anthem Press |isbn=978-1-78308-518-7 |location=London |pages=148 |language=en}} However, Mohit Ray has mentioned, "The potters of Krishnanagar flourished under the patronage of British officials."{{Cite book |last=Mallick |first=Kumudnath |url=https://archive.org/details/in.ernet.dli.2015.455379/mode/1up |title=Nadia Kahini |date=1911 |publisher=Puskat Biponi |editor-last=Ray |editor-first=Mohit |location=27 Beniatola Ln, Kolkata-9 |pages=372–373 |language=Bn}} Over time, after the period of pot worship, the practice of clay idol worship gradually emerged. This led to the creation of massive and highly detailed clay idols, including both Krishna and Kali figures, with the latter earning the festival name “Ras Kali” puja in popular language.

File:নবদ্বীপের আগমেশ্বরী মাতা.jpg in Kali Puja]]

Before the beginning of the Shakta Rash Utsav, several Kali idols were already being worshipped in Nabadwip. According to various schools of Shakta tradition, Bengal has historically been a center for Tantric practices. As the influence of Brahmanical culture grew, oppressed people began embracing Tantra closely. From the 12th to 13th century, Tantric practices expanded widely across Bengal. During this time, accomplished Tantric practitioners devotedly worshipped the goddess, following strict rules and principles. According to tradition, idol worship hadn’t become prominent in Bengal back then. In the 17th century, after the renowned Tantric scholar of Nabadwip, Krishnananda Agamavagisha composed the Brihat Tantrasara, the worship of Kali began to spread in Bengal.{{Cite book |last=Mitra |first=Sudhirkumar |url=https://archive.org/details/in.ernet.dli.2015.455627/mode/1up |title=Deb-debir Katha O Kahini |date=1958 |publisher=D.M. Library |location=42 Bidhan Sarani |publication-date=1958 |pages=230 |language=Bn}} However, from the Kālīsaparyāvidhi, a text written in 1768 in the mid-18th century, it refers that Kali worship had not yet spread widely in Bengal. Under the direct patronage of Maharaja Krishnachandra, the widespread expansion of Kali worship took place in this region.{{Cite book |last=Dashgupta |first=Shashibhushan |url=https://archive.org/details/in.ernet.dli.2015.456959/mode/1up |title=Bharater Shakti-sadhana O Shakta Sahitya Ed. 2nd |publisher=Sahitya Samsad |year=1970 |edition=2nd |location=32A, Acharya Prafulla Chandra Rd, Kolkata-9 |publication-date=1960 |pages=74–75 |language=Bn}}{{Cite book |last=Law |first=Narendra Nath |url=https://archive.org/details/in.ernet.dli.2015.99774/mode/1up |title=The Indian Historical Quarterly |date=1951 |publisher=Calcutta Oriental Press |volume=XXVII |location=Calcutta |publication-date=1951 |pages=257 |language=En}} Krishnachandra introduced at least three Kali worship rituals in Nabadwip during his reign. These include the Alaniya Kali, Baro Shyama Mata, and the Bhadra Kali mata of Charichara Para. Later, his grandson Ishan Chandra initiated several more Kali worships, such as Bhadra Kali of Harisabha Para, and Nritya Kali of Byadra Para. Initially, these Kali goddesses were worshiped on the Amavasya (new moon) night of Dipanwita Kali Puja. However, with the beginning of Shakta Ras, these Kali pujas also started being celebrated on the Purnima (full moon) night of the month of Kartik. These pujas lend antiquity to the Shakta Ras festival of Nabadwip..{{Cite book |last=Mandal |first=Mrityunjoy |title=Nabadwiper Itibritto |date=January 2013 |publisher=Nabadwip Sahityo Samaj |edition=2nd |location=Nabadwip, Nadia |publication-date=January 2002 |pages=151–152 |language=Bn |trans-title=The social History, Archeology, Culture and Literature of Nabadwip}}

In the early 16th century, some Vaishnavite scholars started the Vaishnavic movement. So it was an obvious conflict with Shakta followers who were worshipping Tantra.

Documentation of early days of Shakta ras is very rare as flood and earthquake hit several times.{{Cite book |last=Bose |first=Ashok Kumar |title=Gangapother Itikotha |publisher=West Bengal State Book Board |isbn=978-81-247-0721-0 |publication-date=2013 |pages=63 |language=Bn}} Although Girish Chandra Basu and Kanti Chandra Rari gave glimpse of Shakta ras in early days.

Girish Chandra Basu highlighted the first glimpse of Nabadwip Ras. In 1853–1860, he was a daroga of Nabadwip-Shantipur and Krishnanagar. In his book Sekaler Daroga Kahini (published 1888 AD), he wrote various socio-cultural reports along with the geographical location of the Nabadwip of that time. He wrote,

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''During Ras Utsav, people gathered in Shantipur, and similarly, large crowds would come to Nabadwip to witness the "Pot Puja" and enjoy various cultural programs. This Pot Puja is well-known in Nabadwip. Despite its name, Pot Puja involves worship through clay idols of various deities. Among these, idols of Durga, Bindhyabasini, Kali, Jagadhatri, and Annapurna are especially popular. These idols are very lightweight; five or six people can easily carry them on their shoulders, and they can even dance with them effortlessly.

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Girish chandra Babu's description provides insight into the 19th-century Ras Utsav. Bindhyabasini Mata was worshiped in Purangunge, a place that now lies in ruins. Between 1853 and 1860, he observed Purangunge in its original state. However, in 1871, the Ganges eroded the area, leading to the destruction of Purangunge. The Bindhyabasini deity was then moved to Sribasangan. Due to internal conflicts, the puja committee eventually split into two groups. One group continued to worship Bindhyabasini in Sribasangan, while the other began Gourangini worship near Jognathtala.{{Cite book |last=Mandal |first=Mrityunjoy |title=Nabadwiper Itibritto |date=January 2013 |publisher=Nabadwip Sahityo Samaj |edition=2nd |location=Nabadwip, Nadia |publication-date=January 2002 |pages=153–154 |language=Bn |trans-title=The social History, Archeology, Culture and Literature of Nabadwip}}

Historian Kanti Chandra Rarhi also wrote about Nabadwip Ras in his book Nabadwip Mahima. There he confirmed that Shakta Ras jatra had been celebrated since long year back. He wrote,{{Cite book |last=Rarhi |first=Kanti Chandra |url=https://archive.org/details/in.ernet.dli.2015.512971/mode/1up |title=Nabadwip Mahima |date=1937 |editor-last=Dutta |editor-first=Jitendriya |edition=2nd |publication-date=1891 |pages=299 |language=Bn |editor-last2=Dutta |editor-first2=Phanibhushan}}

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Superpower of Hindu mythology, Devi Bhagabati has been worshipped in different form in Nabadwip during Ras Purnima. Next day after puja, people from the nearest place came to watch idols. Also Maharaja of Nadia came to see and he encouraged this festival by giving award for making outstanding idol. For that purpose an organising committee brought there idol in Poramatala. There Maharaj judges the structure of idol, ornaments (called in Bengali as "Saj [সাজ]") etc and then decided the award to best one.

|author=Kanti Chandra Rarhi|title=}}

The craftsmanship of the potters of Nabadwip-Krishnanagar is equally renowned both domestically and internationally. The artisans of Nabadwip have left a unique mark in creating massive idols.

Cartoonist Chandi Lahiri remarked about the glory of the Mūrtis worshiped in Nabadwip Rash jatra,{{Cite book |last=Mandal |first=Mrityunjoy |title=Nabadwiper Itibritto |date=January 2013 |publisher=Nabadwip Sahityo Samaj |edition=2nd |location=Nabadwip, Nadia |publication-date=January 2002 |pages=157 |language=Bn |trans-title=The social History, Archeology, Culture and Literature of Nabadwip}}

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In the idols of Nabadwip, the preservation of balance within each part, even amidst their enormity, and the realization of various deities' classical imagery through clay, are simultaneously a marvel and a source of pride for any country in the world.

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Dr. Sudhir Chakraborty, educationalist and recharcher of Bengali Folk culture, wrote about the potters of Nabadwip - "The sculptor's skill in shaping the statue's form is beyond question... In this formation lies the pride of ancestral heritage, passed down through generations."{{Cite news |last=Bandyopadhyay |first=Debashish |date=21 November 2018 |title=এক রাতেই সারা চক্ষুদান, অঙ্গসজ্জা |url=https://www.anandabazar.com/amp/west-bengal/nadia-murshidabad/idol-makers-kick-started-making-idols-for-nabadwip-rash-yatra-1.901426 |access-date=14 November 2024 |work=Anandabazar Patrika |language=Bn}}

The skill of the potters in crafting extremely large idols is beyond question. While the potters of Krishnanagar excel at creating small figurines, they cannot craft such large idols. The potters of Chandannagar can create massive Jagaddhatri idols, but they lack proportional harmony, often concealed by the extravagance of "Daker Saj" (Sholapith) decorations. In Nabadwip, however, all clay idols are proportionate, well-structured, and graceful. This artistry reflects the pride of a long-standing, inherited mastery in traditional craftsmanship.Rashmi published by Nabadwip Adarsha Pathagar, January 1997, pg: 86-86

{{commons category|Nabadwip Shakta Ras Jatra}}

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