# Durga Puja/The Pratima or the Group of Figures/Construction

DURGA PUJA.
[The following paper was originally published in the "Hindoo Patriot" for the 23rd October, 1871.]
THE PRATIMA OR THE GROUP OF FIGURES.—CONSTRUCTION.
On the day of Ratha Yatra, i. e. on the second day of the bright half of the month of Ashadha, a piece of bamboo-slit of the required length is properly cleaned and smoothed and rounded by the kumbhakara (potter) and then taken up to the room where the family idols are kept; the family priest, after worshipping Vishnu, anoints it with chandan, a sandal-wood paste, and invokes Durga upon it. This piece of bamboo-slit remains in the same room till on the eighth day of the waning moon of Sravana, i. e. till the Janmashtami, when the architect of the pratima brings it down. The frame-work (katamo) is then commenced. The materials are scrupulously collected, and every precaution is taken to preserve their purity (i. e. freedom from defilement by unbelievers.) The materials are pieces of bamboo-slits, unpealed garan (Ceriops ​Roxburghianus, Arn) yearlings, dried ulu grass, (Imperata cylindrica, Beauv) and a plank from mango timber. The carpenter then drills holes in the plank at an auspicious moment, and the kumar builds the framework upon it. Rough skeletons of the idols are made with ulu straw, and then a dough of earth from the Hugli, cow-dung, and husk of rice is made up, and with the earth thus prepared the kumar moulds up the figures. These are seven in number, four of which are removeable, and the principal three, which are centrical in the group, are attached to one another. All the figures, except one of the lower-most figures of the central group and the right-most one, are first made headless. The heads are prepared by the kumar at his house. The figures are then allowed to dry for about a fortnight or twenty days, when again an auspicious moment is fixed upon for covering over the idols with a plaster of finer earth, and it is then that the heads to those figures, which had not been fixed unto them, and the fingers of all the figures, are put on. The snake, which encircles one of the centrical figures, is at this time formed, so also the top-piece or chal as it is called. The small nooks on both sides of the frame-work are next fitted up with two groups of figures, and miniature weapons and the head of ​a buffalo, and a mouse are then moulded. Indeed, before the waning fortnight of Asvina the kumar finishes his work and then the figures are left to dry for some days. The painter enters appearance generally on the third or the fourth day of the waning fortnight of Asvina and paints figures according to the directions given in the Sastras. On the fourth or rather the third day of the waning fortnight of Asvina i. e., about three or four days before the puja the mali decorates the idols with tinsel and imitation ornaments. The idols are ready for worship on the evening of the sixth day of the waxing fortnight of Asvina. On the plank of wood is raised about a foot high a platform of wicker-work covered with plaster of earth. On this platform rest all the figures, their real weight being supported by horizontal props attached to tho strong framework of bamboo-slits and garan, which is shaded from the front view partly by the figures themselves and partly by plaster of earth. Supported on the frame-work of the back is the richly moulded chal, divided into three semi-circular compartments, with the convex sides projecting upwards. In each compartment are painted, according to the injunctions of the Sastras, figures of various gods and goddesses, and scenes ​of several battle-fields. From the two upper-most corners of the frame-work project two figures of Nilakantha bird, Coraccias indicas.
Peculiar customs are observed by some families in the construction of the idols. In families where the Durgotsava is an ancient institution, the idols are constructed wholly either by men of the carpenter caste or by men of the potter caste. These hold chakran lands granted to them, or rather to their ancestors, and the only return they make is the service rendered in the construction of the idols. The carpenter or the potter comes on the prescribed day of every year and prepares the pratima without any reference to the head of the house. In this manner others, who likewise hold rent-free lands, from the priest who performs the worship to the suppliers of different edibles including the musicians and other attendants on the occasion, render their annual tribute of service, and the festival is celebrated without subjecting the family to additional expenses. At places where the ulu straw is not available the substratum of the figures is made with the straw of paddy. In some families however the same frame-work is used every year, and when the plank gets rotten, a bit from the old plank is attached to the new. The tenth day of the waxing ​fortnight of Ashadha is in some families observed as the day sacred to the construction of the idol. In others, again, the Janmashtami or the birth day of Krshna is preferred. No respectable family, however, purchases a ready-made idol from the bazar. The chal or the canvas top of the framework varies in form in different families. Some have a round chal, which is in Bengali called Bangala, others have three separate semi-circular, triangular, spherically-triangular pieces, with truncated conical top.
The figures are, in the central group, a representation of Durga, the ten-armed goddess, standing with the right foot upon the back of a lion, which is again described in the attitude of a combatant attacking an Asura, (the buffalo-demon) on whom rests her left foot. The goddess has many-braided locks of hair, the crescent moon on her forehead; three eyes, and a face, resembling in brightness the full moon, her complexion as brilliant as liquid gold; her stature gracefully thrice-bent; and her eyes exquisitely beautiful. With the freshness of youth, and completely decorated with ornaments; with a lovely set of teeth, and with bosoms lofty and compact, the goddess is represented in the attitude of destroying the buffalo-demon, with ten arms delicate and rounded as the tender stalks ​of the lotus, holding the trident in one of her right arms, the sword and the discus in the lower ones, a sharp dart and a lance in the other two respectively; while in her left arms holding the shield, the bent bow, the noose, the goad and the bell or the axe. The buffalo is represented as a headless trunk, from which springs up a demon, with a shield and sword in hand, pierced in his breast by the lance of the goddess and besmeared with blood, gushing from his wounds. The goddess frowning with a terrifies contraction of her brows, holds in her left hand with the forelocks of the demon the serpent noose, which strangles the Asura in its dreadful coil, while the lion falls upon him, with teeth gorging blood. The right foot of the goddess rests lightly on the back of the lion, while she stands tip-toe, with her left foot on the demon's shoulder.
The figure to the right of the group of three, is that of Lakshmi. She is represented as standing on a full-blown white lotus, with her right foot slightly bent over the left, with the toe of the right a little turned out. The whole figure slightly leans towards the right and in her each hand, she holds a full-blown white lotus. In the Sastras, she is described as bright as gold, decorated with necklaces, yellowish gold and silvery white, ​standing on a lotus, her right hand raised and the left lowered, making a graceful attitude. To the left of the central group is put Sarasvati as white as marble or purer still, like the jasmine, the moon, or the snow, standing on a white lotus and holding in her hands a vina, guitar, dressed in white. Her left foot rests tip-toe on the right and her left hand slightly raised. She leans gracefully towards the left. A little lower to the right of Lakshmi sits, with his left leg bent on the right the vermeil-red, triple-eyed, plump and round-bodied, big-bellied, handsome Ganesa, holding in his hands a lotus flower, a noose, a goad, and chakra; surmounted by the face of the prince of elephants, one-tusked bearing the crescent moon on his forehead, from the pores of which distill liquor drops. His shoulders are decorated with a wreath made of the king of serpents and his dress is red. To the left of Sarasvati sits the victorious and gold colored Kartikeya, on a beautiful peacock. In his right band, he holds a lance and with the open left palm confers boons on his devotees. Under the lotus, the seat of Ganesa, may be seen a small crouching mouse, snugly resting with its tail curved on its back.
In the right nook of the frame-work is placed Siva, seated on his fat Nandi (bull). Siva is ​described as having two arms and one head, three dull, half-shut eyes, a crescent and a head-dress of serpents. He holds in his right hand a damaru, a small drum instrument, resembling two inverted cones. It is sounded by the oscillation of a small knot hanging from a string and striking alternately the drums on the two sides. In his left hand Siva holds on high his enormous horn. In the left nook sits Ramachandra, green colored, on his favourite monkey, Hanuman. He holds in each hand an arrow and a bow.
On the lower platform are placed two small figures of two girl attendants, Jaya and Vijaya, the one is painted yellow and the other red; under the Asura is seen a small representation of a severed head of a buffalo.
The chals constitute the most interesting part of the entire group. The principal and prominent picture in the central chal, is that of Muktakesi, a form of Kali. She is painted purple and in every respect she is a Kali. Her red tongue projecting out of her purple though well-formed face, four-armed, decorated with a necklace of human skulls and dressed in elephant-skin. She also stands upon Siva, but unlike the Dakshina Kali her left leg is foremost. Above the figure of Kali are painted the pictures of the avatars, the first four of which, ​Matsya, Kachchha, Varaha, and Nrsinha are towards the right. Buddha is placed in the centre and he is represented seated in deep meditation with his eyes closed and both hands folded on the navel. Towards the left are Vamana, Parasurama, Valarama and Kalki. Rama, the complement of the ten avatars, is the principal figure of the chal towards the right. Round Muktakesi are placed the ten Mahavidyas i. e., the ten incarnations of Sakti viz. Kali, the well known goddess. Tara, another form of Kali, represented as more plump than Kali, with legs differently disposed, that is stretching side-ways. Dhumavati, Shodasi, Bhuvanesvari and Vagala are milder incarnations of Sakti. They are all represented as seated, some upon chairs held by Brahma, Vishnu, Siva and Narada, some as being anointed with waters poured by elephants. Chhinnamastaka is a redish brown, naked, headless goddess, she stands upon a human couple and in one hand holds a gory scimitar and in the other, her own severed head, which drinks the warm blood, gushing forth from her headless trunk. Matangi, Bhairavi and Siddhavidya have each a place in the chal.
In the lower compartment of this central chal are represented the several elementary gods, viz., ​Indra the god of the firmament, Agni the god of fire, Varuna the god of waters, the Maruts the god of the winds and Yama the god of death and the eight Saktis viz. Ugrachanda, Prachanda, Chandogra, Chandanayica, Chanda, Chandavati, Chandarupa, and Atichandica, and below these, in a small compartment, is represented the battle between the gods and the demons.
The principal group in the right chal is that of Ramachandra, seated on a throne with Sita at his left, his favourite monkey Hanuman kneeling, and his three brothers Bharata, Lakshmana and Satrughna holding an umbrella and fans respectively. In this chal is also represented the battle of Rama and Ravana. The sun is seated in his car drawn by seven horses, and the tainted moon has also a place in this compartment. On the top is represented Siva, in his marriage dress; and small figures of the sixty Yoginis are given. In the lower compartment is delineated the scene of the battle of Sumbha and Nisumbha, and the principal figure in this group, is that of the gold-colored goddess, the two-armed Chandi, with a lance in hand resting on a lion.
In the left chal the principal figure is that of Radha, seated on a throne, with her Gopinis all round, dressed as a queen, and Krshna ​doing homage to her. In this chal is also represented the battle of the Kurus and Pandavas, and in the lower compartment is described another scene of the battle of the demons with the black form of Sakti. She is represented as a two-armed goddess, standing on a lion and holding swords in both hands. In the several smaller corners are represented the Vatukas and the nine Grahas (planets) viz., the Sun, the Moon, the Mars, the Venus, the Jupiter, the Mercury, the Saturn, the Rahu and the Ketu (the ascending and the descending nodes.)
In some families the paintings of the chals differ greatly, and some of the above-mentioned gods and goddesses are left out, according to the forms and dimensions of the chal. The painter, however, takes great care to so dispose the several figures, that the effect of the entire collection is rendered graceful and imposing. Certain modifications are observed in coloring the several idols and in the disposition of the same. Ganesa is generally painted red, all over the body, except the trunk which is that of a white elephant; the Malliks of Andul have a two-armed Ganesa; some however have light orange or light green Ganesa in some families, again, he is represented as standing. No variations occur in the coloring of ​Lakshmi, Sarasvati and Durga, though some have the first two transposed and the last with four arms only. Some have what is called, an Abhaya murti i. e. a two-armed Durga seated with Siva. The Buffalo-demon is represented by some as coming out of the carcass of a buffalo and is somewhere painted gray. Kartikeya is always represented as seated on a peacock. Sometimes we meet with a standing Kartikeya and then he is painted yellowish white. In some families the clothes of the three female idols are made by the architect with plasters of earth, and in others, pieces of cloth are actually placed round the idols, and in the latter case the color preferred for the golden colored female idols is red and for pure white Sarasvati blue or purple. In some families, again, the principal ornaments of the idols are made of earth. But Kartikeya is most susceptible of change. His dress depends much upon the fancy of the head of the family. The heads of Kartikeya, Ganesa and the demon are the same in every house. The heads of the three goddesses may be either slightly flat or oval. Many have an elongated head for the lion, more like that of a horse and a dragon, while others, delineate the natural face of the lion.
With these gods and goddesses, some of which are represented in clay and others in paint, ​is worshipped perhaps, with equal respect the Navapatrica or the group of nine plants or twigs of plants. The Mallikas of Andul establish two Navapatricas, the one on the dark navami and the other on the evening preceding the Saptami. In the minor details both in construction of the idols and in the worship there are so many variations and peculiar customs observed in different families, that it is difficult to lay down any practice as universal, except the universal celebration of the Autumnal Festival. The Chaudhuris of Makardah, for example, do not offer any eatables to the goddess on the occasion of the festival during the day. At night boiled rice is offered in dishes made of plantain leaves.