Holy
Pilgrimage – Temples
in Odisha (Orissa) State
Sarala Temple, Odisha
The Sarala Temple is a Hindu temple in the district of Jagatsinghpur, Orissa, India. The temple is accessible by road from Jagatsinghpur, Cuttack and Paradeep. The nearest airport is Bhubaneshwar, which is approximately 80 km, and is well connected by road. The nearest railway station is Cuttack; however, there is a small Passenger Halt at Sarala Road, near Tentulipada. The temple can be reached via Jagatsinghpur, or Tarapur by road, from Cuttack.Maa Saarala is a Hindu goddess who patronizes the cultures of Vaishnav and Shakta. Rarely does one find the use of Vilva Patra and Tulasi patra in any temple, as they are symbols of two distinct divisions of Hindu culture.
There is also some controversy regarding the deity, where it is suspected that the deity may be a Buddhist tantric figure, as she holds a book, Veena and hand bell – known Mahayana symbols. It is said that Huen Tsang, the Chinese pilgrim, visited Orissa and he had taken a ship from Chilitolo Port to Sri lanka, which historians attribute to modern day Tirtol. This may be a possibility as geography shows that Paradip was an island and the land in and around Kujanga was under water - Sea/River. There is geographic evidence to support this. To be at a safer side, we may conclude that Sarala represents the Shiva-Shakti cult which evolved from an amalgamation of Shaivism (worship of Shiva), Shaktism (worship of the Mother Goddess) and/or Tantric form.
Goddess Sarala is known as Vak Devi, the Goddess of Knowledge and Wisdom. It is well documented that Sidheshwar Parida - a small time farmer and part-time Oriya Paika - was an ardent follower of the Goddess and it was after her blessings that Sidheshwar Parida became Sarala Das, the author of the Oriya Mahabharata.
Folklore goes back to thousands of years, to the age of Parashurama. It is said that it was God Parashurama who had carved the goddess with the tip of his arrow. Even this temple survived the ravages of Kala Chand (legendary Kala Pahada). The new temple- 500 years old - was built by the Raja of Manijanga. The remnants of the old temple is not visible, but folklore goes that it was at Badasarol, a place where the Ganesha Temple, (generally adorns the south gate of all Oriya temples) (Nanda Deula, now renovated) stands as witness, where the old temple once stood.
Although there are many festivals that are celebrated in the temple, the major ones are: Parbana, Sharadiya Utsav, Pana Sankranti, Dola Purnima, Chandan Jatra. The people of the Kendrapara, Jagatsinghpur and Cuttack districts are so attached to the goddess that they make it a point to visit the temple every year - at least once
Synopsis
This shrine of Goddess Sarala of Jhankada is one of the most spiritually elevated expression of Shaktism from time immemorial. The heavenly abode of the Goddess is existent in the village of Sarala (Kanakapur) of the Jagatsinghpur district, located on the eastern coast of India. It is believed that Goddess Sarala is a synthesis of divine figure of Durga and Matangi. Three idols of Goddess are there in the sanctum sanctorum of the main temple. The main idol, carved out of stone is of eight-armed keeping right feet on the lion in Mahisha Mardini posture. As per the main priest (Puja Panda), the dhruva/main idol of Goddess is stationary (Achalanti Mula Vigraha) and she holds Sword (Khadga), Trident (Trishul), Manuscript (Pustak) and Lute or Veena in her right hands and Disk (pattisha), Bow (Karmuka), Bell (Ghanta) and the head of Buffalo Demon (Mahishasura) left hands. Some scholars associate Devi as Matangi mahavidya. The second idol of Maa is four-armed, holding Shankha, Chakra, Varada and abhaya mudra, and the third idol is two-armed, made out of eight precious metals (Ashtadhatu). These idols of Maa are taken out of temple in different ceremonial occasions and known as movable idols (Chalanti Bigraha).The Goddess otherwise known as Jhankad Vaasini Sharada or ‘Maa Sarola’ is worshiped in most of the houses of the local districts as well as in the state.
The Culture of the deity result of the amalgamation of three principal Hindu cults Vedic, Tantrik and Vaishnavite. This place is one among the eight most famous Shakta shrines of Orissa.
Temple
As per historical evidences, it is believed that this famous temple of Sarala Chandiwas constructed in Sarola Grama during the Bhauma Dynansty in 8th Century. The Goddess “Maa Sarala” was being worshiped in this temple till the end of Hindu rule in 1568 A.D. History, tradition, legend and literature remained as the silent witness to the existence of Sarola Chandi in the Sarola grama (village). In this context one among the great verses of Oriya Mahabharat may be quoted here."Nila sunder giri uttar diga kone. Saraswata bhumi bharata khanda aisanya, Chandra bhaga bolikari nadi eka goti, Brudha matanka paruse maho dadhi bheti, Se nadi titare parsuramje ghatoi, Kanaka bati patana nama prakasai. Ta utare anuja sarol boli grama Bijaya maheswari sarola chandi nama."
A ruined temple still in existence (renovated in the year of 1982) along with a large tank nearby and surrounded by residences of all categories priests ( Pujapanda, Niyogi, Roul Sevak, Mali). Also there was a huge banyan tree (described as Nilakalpabata in Oriya Mahabharat) on the spot and uprooted out in the Super Cyclone in the year of 1999). Being established in 8th century in the time of Bhauma dynasty, it was flourishing till the end of Independent Hindu rule 1568 AD. As legends, supported by historical evidences, in 1568 AD Supreme commander of the Muslim army Kalapahada of Benagli sultan Sulemankarani raided the original shrine of Sarola Chandi at Sarola grama and partly destroyed its far famed Shakti temple. Just after hundred years during the reign of Moghul emperor Aurangzeb the old temple of sarola grama was devastated and a mosque was built few metres away in the west of the temple.
At present Lord Ganesh is being worshiped in the ruined temple (Newly constructed in the year of 1982) by the head priest of the Goddess in the patronship of Sarala Trust. Some important ritualistic ceremonies are still observed in the old shrine thrice in a year. The processional idol “Chalanti Vigraha” of Sharala is brought in a gorgeous palanquin from the present temple to the Sarola grama seven times in a year to commemorate the ancient rituals. The idol of the deity ceremoniously installed on the old throne where she had been worshiped for centuries. A male goat was traditionally sacrificed through the pancha upachara puja at the place as the last ritual in the occasion of Dussehra. Mahabisuva Pana Sankranti noon is the great occasion (Jhamu Yatra) Roul sevaks dance on fire and green coconut offered to Devi by panda pujakas. In the dawn of Dola Purnima decorated vimans consisting of several deities from adjacent localities congregate along with the goddess. This interesting occasion is observed with pomp and ceremony. This particular occasion, when Goddess Sarala is worshipped along with other deities, signifies that Maa Sarala is an amalgamation of Vedic cult, tantrik rites and vaishnavik efflorescence. The present temple of Goddess was constructed during the period of Marahatta administration between 1753 and 1803. Marahatta Subedars took initiatives and helped the local kings (Gajapati) of Kujanga, Kanika, Benahar and Harishpur to construct the present temple. Present temple situated in the village of Kanakpur of Jhankada Pragana(Kanankbati patana). It is located in a specious compound consists of a Deula of Pidha order, a Jagamohan or Mukhasala with three Pidha-roofs aligned in a north south axis, and a flat roofed Manadap. The walls of Deula and Jagaamohan is divided into two stored by Madhya Bandhan. The projecting paga is designed as pidha-mundis on both stored though they are not niches. The Anuraha recess has two super–imposed figure motifs on each story. They are filled with erotic kanya motifs, lion motifs on Brahamanical deities. The raha is decorated with a large pidha-mundi that extends up to two storeys. Its niche is filled with various aspects of Devi. On north and south (Sandhi Sthal) bonding are two idols of Devi, one superimposed above the other. The sean on the south represent Parvati and Kali sturts that extend to the height of the barandha support the pidha-roof of both structures. The sturts are decorated with Mithunas or Alasa Kanyas. The Pidha-roofs consists of conventional pidha mouldings and crowning mastka. Exterior pilaster supports the roof of the mandap at the front of the east west axial alignment. The wall openings between the pilasters are designed as cusped arches. Images of the Dasamaha Vidya are carved at spaced intervals just below the ceiling within the Mandap. The flat roof has two tires. A large image of Mahisamardini is at the front edge of the roof. The Devi is eight armed and placed within a circular medallion decorated with lotus petals. If we go through the annals of history, we find that the Sarala temple was managed by a single man called “Parichha” and he was the sole authority (de facto ruler) of the temple till mid eighties. In the year of 1863 Endowment Act was promulgated by the British rulers and a no. of religious establishments came under the control of Endowment for the first time in the history of India.
As per the historical evidences, immediately after the promulgation of endowment act the administration of religious establishments like Kadam Rasul (Cuttack) Jagannath Vallbha Math (Puri), Sakhi Gopal (Puri District), Lingaraj Temple (Bhubaneswar), Baladev Jew Temple (Kendrapara), Govinda Jew Temple (Kendrapara), Bhagabati Temple (Banapur) and Sarala Temple of Jhankad (Cuttack district) came under endowment. According to this act, a three member trustee will be in charge of the administration of the religious establishments under the endowment and the District Judge of the concerned districts were empowered to select three members (normally eminent persons) as Trustees for the concerned religious establishments.
After the endowment took control over the temple administration some of the prominent personalities were nominated by District Judge of Cuttack for Sarala Temple and they are Dasa Rathi Dash, Gokulananda Choudhury, Giris Chandra Ray Chaudhuri, Raybahadur Nimain Charan Mitra, Babu Shyam Sundar Bose, Babu Kapileswar Das, Susil Raj Choudhury, Niranjan Parija.
Though the endowment act had many good provisions for the temple administration but it had a serious drawback. Once appointed, a member gets lifetime tenure as a trustee and can only be succeeded by other nominated members after his death. Because of this provision in the act, some ineffective members started continuing in different temple administrations for years together without significant or no contributions. The Sarala temple was not an exception. Most of the members nominated by District Judge, Cuttack were hesitant to visit the Sarala Temple as because it was little far away (fifty kilometers) from Cuttack and was not connected with good roads. So they used run the administration of the temple from Cuttack. Therefore after the appointment of trustees, there was no change in the administration scenario in Sarala Temple and it remained as before. After few years, for crisis management the then Trust Board appointed a local headman named Chintamani Parija of Tentulipada village as manager of the temple and this man brought some changes in the administration during his tenure as manager. But probably that was not enough and the villagers of nearby villages were highrunly dissatisfied the way the temple was administered.
In the year of 1928, the Cuttack District Judge received some complaints regarding mismanagement in the temple. To streamline the administration, the District Judge nominated Ray Bahadur Chintamani Acharya and Choudhury Brajanath Mishra of Veda village as members in the temple trust board and that heralded a new era in the administration of Sarala temple. Ray Bahadur Chintamani Acharya took very good initiative to make administration more efficient and effective. He also had brought some changes to the old rules and enforced new rules and regulations for the long term benefit of the temple. During his tenure, the development of the Sarala temple reached a new height.
In absence of proper rules and regulations for temple administration the donations of the pilgrims were taken away either by the Sevayats or by Parichhas (Hereditary administrator of the temple) and could not be used for the welfare of the temple. But for the first time in the history of the temple, Chintamani Acharya, had brought changes by making new laws through trust board to discontinue the above practice. Moreover under the new law, he ensured that donation of the pilgrims either in cash or kind is accepted by the temple administration. Also to properly account for the donations, he started the system of providing printed receipts to pilgrims against their donations. While implementing new rules for the betterment of the temple, there was growing dissatisfaction among Pujakas or Sevayats. Ray Bahadur Acharya immediately realized this and to address this issue he proposed a unique model of temple income sharing by the Sevayats. As per the model, on a particular day, those (the Sevayats) are on duty would get 14 of the temple income of that day. By enacting these new laws through the trust board and by creating public awareness, Ray Bahadur Acharya was able attract good amount of donations from the general public. Later on these public donation money was utilized for the improvement of the temple and brought a visible change in and around the temple area.
Ray Bahadur Chintamani Acharya will be always remembered for his contributions for the development of the Sarala temple. Besides development, he was responsible for preparing a by-law for temple administration, which laid the foundation stone for the proper administration of Sarala Temple and for which his name will be written in the golden letters in the history of the temple. As per the by-law an honorarium was fixed (Prapye pauna) for the Panda Sevak for the first time in the temple history and after the by-law came into force, the old hereditary Parichha administration was completely abolished.
“The Parichha administration was most corrupt and lethargic because of hereditary in nature. We don’t have any hesitation to abolish it by preparing a new by-law” said Ray Bahadur Chintamani Acharya, before discontinuing the Parichha administration in Sarla Temple. From that time onwards the ritualistic duty of Parichha was handed over to a representative selected from the panda pujaks. Narasingha Pand, was the first empowered Panda Pujak and performed the ritualistic duty of Parichha. He was successful to discontinue the age old animal sacrifice system by mobilizing public and Pujak Sevaks of the temple. In the year of 1946 entry of Harijan people (Harijan prabesh) into the temple was organised by P.S.P leader Nisamani Khuntia and it was another important event in the history of the temple. It was a great conflict between sevayat and administration in the history of temple.
In the year of 1939, Hindu Devotara Endowment act came into force and a commissioner became the head of the endowment. Trustee appointment power was transferred from District Judge to Endowment Commissioner. As per the new act, the trust board once constituted will have five years tenure and it has to be re-constituted after each five years. Under the Hindu Devotara Commissioner in the first trust board Ray Bahadur Chintamani Acharya was appointed as managing trustee, Baman Charana Mohanty and Giridhar Das were appointed as two members. After five years, in the year 1945, the trust board re-constituted and in the place of Giridhar Das, Sarat Chandra Parija appointed as the trustee.
Location
Communication facilities
By Road: The temple is well connected with roads network and is accessible by road from Jagatsinghpur, Cuttack and Paradeep.At least three buses are plying everyday from Cuttack (Badambadi bus stand) to Sarala peetha (Kanankpur). One can avail bus facility from Cuttack or Paradeep in every fifteen minutes and can get down at Sarala Road stoppage to visit Sarala Temple. The Temple is only 10 minutes away from the bus stoppage by Auto rickshaw.
The temple is only 20 minutes away on road from Jagatsinghpur district head quarters by a cab. Moreover, one can take some alternative routes to reach the temple from nearby districts like Kendrapara, Puri, Khurda, Cuttack and Jajpur. The temple can also be reached via Jagatsinghpur, or Tarapur by road, from Cuttack.
One can also reach the Shrine from Konark via Kakatpur and Jagatsinghpur by travelling a distance of around 70 km.
By Railway: The nearest railway station is Cuttack, however there is a small Pessenger Halt at Sarala Road, near Tentulipada. Two trains are plying daily between Cuttack and Paradeep and one can avail this facility to visit Sarala Temple. One has to get down at Sarala Road railway station and can get auto rickshaws to reach the temple, which is 3 kilometers away from the station.
By Air: The nearest airport is Bhubaneshwar, which is approximately 80 km, and is well connected by road.
Accommodation facilities
There is a Bungalow of Roads and Building (R&B) department, Govt. of Orissa where one can stay overnight. The bookings for this can be done at the office of the Asst. Engineer, R&B, Tirtol.A Rest house of Water Resources dept., Govt. of Orissa is located near the temple. This can be used for overnight accommodation purpose and the bookings for this can be done at the office of Asst. Engineer, Drainage Division, Water Resources Department.
Deity
As per history, Tantrik Shakti worshiping was started from 7th. Century onwards in which it is believed that mother goddess is the source of power (Shakti) and highest spiritual bliss. Shaktism, in which power of mother goddess (Matrushakti) is depicted as the ultimate form of power, continued to dominate Buddhism, Shaivisim and Bramhinism after 7th. Century. During this period mother energy was conceived and expected in various ways and the image of Siva accompanied by his consort is conceived as Ardhanariswara (half male half female).During the early Bhaumakar rule 736 A.D the eight armed Mahinsamardini Durga appeared in the sculptural masterpieces of Orissa. Some eight armed Mahinsamardini idol (Bigraha) seen in some other part of Orissa in the eighth century had resemblance with Goddess Sarala. As per the eminent archaeologists and scholars the period of origin of the Goddess Sarala in Jhankad was during 8th. Century A.D.
Tantrik culture of the place
Goddess Sarala was popularly known as ‘Sarola Chandi’ till fifteenth century as it is stated in Oriya Mahabharat.Chandi or Sapta Sati interpolated in the Makandeya Purana known as one of the Shakta Tantrik text of brahimincal religion. The entity and culture of the goddess Sarala has been derived from the Sapta sati Chandi written by great sage Markandeya. As per the description in the text Goddess has retained Shiva’s trident, Vishnu’s Chakra, Vayu’s bow, Surya’s arrow, Vishwakarma’s Axe. Indra’s thunder, Ayiravata’s bell and Himavan’s Lion. It is considered as the main source of the idol Goddess Sarala. Chanting of sacred verses of Sri Chandi is one of the most learned practices inside the temple. Everyday chanting of the sacred text at the Shrine not only one of the important rituals but it is very protective for devotees.
Tantrik aspects of ritual are still in practice from time immemorial, which is the witness to the undeniable fact that is a great Shakta Tantrik peetha. The aspect of Pancha “MA” Kara puja by Panada Pujak is found in the daily rituals where the naivedyas are substituted by Coconut water, Cakes made up of Blackgram and Different kinds of Rice are offered. These rituals substitute the Pancha "MA" kar of Tantra .
Ghata Nrutya as it is being performed by the “Roul”, the Shudra Sevak of Goddess is another aspect of Tantrik worship. Roul is described as a Tantrik (Maha Gunia) in Oriya Mahabharat. A wooden stand carrying potful of water (Ghata) is decorated in flowers. Roul Sevak wearing Sarees, Bangles (Khadu), ankle (Pahuda), vermilion (Sindoor), Kajala different types of ornaments. Decorating himself in a mythological picturesque manner heading the Ghata without any support gives swinging dances. It is supposed that the will of the Goddess is acted in dance form of the Roul. The ritual seems to be one of the oldest customs of Shakta tantrism as has been adopted in different Shakti Peeths.
The practice of animal sacrifice (which has been discontinued since long) on the occasion of Mahashtami Sandhi Puja, Dussehra is another witness of Shakta tantrik peeths, though the ritual is not in vogue at present. The attributes which are there in the main Vigraha or Dhruva Vigraha clearly says that the image is a mixed amalgamation of Matangi and Mahishamardini.
Attribution of entity as Saraswati
The Goddess Sarala known as Vakdevi is conceived as the active and eternal source of all wisdom, intelligence and inspiration. The deity personifies “Bramha-Vidya” (the mystic knowledge of the absolute), that is the topmost religious concept in the perspective of dakshinachara Shakti Cult. She is also known as Utkal Bharati, where Utkal signifies the state of Orissa and Bharati is one of the epithets of Saraswati and Tantrik Matangi.It is believed that the substance of life and the power of knowledge are given by the Goddess and therefore the other name of the Goddess is “Sharada” This belief was authenticated in the 15th. Century AD. Sidheswara Parida, a devotee belongs to a traditional farmer family adopted his name “Sarala Dasa”(servant of Maa Sarala) by the name of his beloved Goddess. Later on Sidheswara was designated as the foremost poet of Oriya literature by his composition of great epics Oriya Mohabharata, Bilanka Ramayan, Chandipuran and Laxminarayan bachanika. The great poet Sarala Dasa admitted time and again that he had been an illiterate man and composition of the great and epoch-making verses in Oriya Mahabharata was the result of the magic power transferred to him by his beloved Goddess Maa Sarala.
It might have influenced and touched the right chord in the hearts of Oriyas. Any Oriya-speaking person in the field of acting, drama, song, folk dance, literature and creative art pays his highest devotion and regards at the beginning of his performance in the respective field and respective form. The Sarala Thakurani has been the fondest introduction to the artistic excellence, learning and literary brilliance.
All over Orissa there has been spread Shakta culture and a number of temples have been raised in different names like Sarala (Jhankada), Vimala (Puri), Ramachandi (Konark), Bhagabati (Banapur), Kalijai (Chilika), Narayani (Balugaon), Taratarini (Ganjam), Tarini (Ghatagaon), Bhadrakali (Bhadrak), Viraja (Jajpur), Mangala(Kakatpur), Manikeswari (Kalahandi) and Samalei (Sambalpur). They are more or less similar invocation incantation and manner of worship but everywhere throughout the state and in the neighbouring states like Jharkhand, Andhra Pradesh, Chhatisgarh and West Bengal (Medinipur). Folk song dances like Pala, Daskathia, Ghodanacha and Opera pay their obeisance to Goddess Sarala. Literary activity, commencement of learning “Vidyarambha”. Her very name invites devotion and protection.
Goddess in legend
In Tretaya Yuga, Parasurama the Brahmin warrior and sixth incarnation of Lord Vishnu went round (Tritha Paryatana) sacred places with an aim to establish Goddess Sanctuary (Matru Tirtha) on his way. While moving from places to place, he came near river Chandrabhaga, took a dip in the river and took rest under a banyan tree. While meditating, he came to know about a power (Shakti) kept self-hidden and desired to have self-expression. After that Parasuram recovered a shining stone (Parasmanisila), a wonderful form of glittering Basalt-stone from underneath the earth and carved the divine image of goddess with his arrow. As per the legend the name of the Goddess became Sarada, as the figure of Goddess carved out by arrow (Sara) of Parasurama. The place still bears the legend as meeting banyan tree (Bheta Bara). The name “JHANKARA” or “JHANKADA” is lexically related in the magical reverberations of the sound of Parsurama’s arrow and divine stone.Another legend relates to the place and the deity to Dakshya Yajna in Devi Puran and other Puranic text. It is said that Sati (Adimata or Adishakti), the original source of power, the wife of Lord Shiva, got herself sacrificed in the fireplace (Yajna Sthala) because She could not tolerate humiliation of Her husband by Her father, Dakshya. Out of grief and remorse, Lord Shiva, holding Her corpse on His shoulder started roaming relentlessly. Apprehending the anger of Shiva, which might be detrimental for mankind, Lord Vishnu, sliced Her body into pieces by His great weapon wheel (Sudarsan Chakra) and pieces of Her body scattered over fifty-one places, and around each there grew up a sacred place of worshipping mother goddess (Shakti Peetha). As per the legend, the Navy of Sati fell down in Jaipur, where Goddess Viraja is worshipped and it is known as “Navy Kshetra”, the foot of Sati fell down in Srikshetra, where Goddess Vimala is worshipped and it is known as Pada Peetha and the Tongue of Sati fell down in Jhankada and it is known as “Jiwha /Bani Peetha” (As Jiwha/Bani Peetha, Jhankad lacks puranic evidence).
Festivals
Maha Visuba Sankranti: Some ritual performed at the place amalgamation of different influential cult adapted in the temple over a period of time. Various Tantrik rites are still being observed today at the place. Maha Visuba Pana Sankranti (Jhamu Yatra), otherwise known as “fire walking festival” is one of the important festivals of the Goddess. Sudra Sevaks belong to Roul caste on this occasion wear a picturesque custumes and dance bare footed over burning charcoals. Some ritual gestures are subsequently go round the nearby villages for nearly one month in order to campaign and spread magnanimity of Devi mahima. It appears that, this festival is a tantrik origin.Durga Puja: In the Autumn season, the Durga Puja is observed from Mulastami to Mahastami and is considered as one of the greatest festival in the Devi Peetha. Mahinsa Mardini Besa, Suna Besa and Kalika Nrutya are the main attractions of the festival. Sodasa Upachara puja takes place twice daily during this period. Traditionally the animal sacrifice of a buffalo is done on the prescribed day Mahastami (Sandhipuja), a male goat sacrifice is done before the ceremonial idol of the Goddess on the day of Dussehra at the old shrine of the deity Sarola Grama.
Chandan Yatra: Chandan Yatra begins from Akshaya Tritiya and is observed for twenty-one days. It is a unique festival of Shakta Shrine as deity is worshiped here as Parama Vaishnavi. In the text of Oriya Mahabharata Sarala Thakurani is described as Parama Vaishnavi. It is an old traditional festival from time immemorial.
Nabanna Puja: The Nabanna in consonance with Orissa’s harvesting season is observed here in the first week of Margasirsha with a great devotion and is also considered as an important festival. Different types of foods are prepared for the deity, from the newly harvested crops and offered to the deity through Sodasa Upachara Puja and all the niyogies of the deity eat the Prasad in a group.
As Jhankad was under the direct administration of Gajapati, influence of Jagannath culture and Vasihnavism are seen in this Devi peetha. This is quite evident from some of the rituals like Gamha Avisek, Pausyabhiseka in the full moon day of the month Sraban, Pausa, on account of Nabanka Bedha, the processional idol of God taken nine times round the temple similar to Sri Jaganath Temple Puri. Rasa Utsav in the month Kartik, Dola Melana in the month of Phalgun. In accordance with Jagannath culture Suniya in the month of Bhadrav is observed as coronation ceremony of Gajapati kings the resembling the rites in the temple of lord, Sarala the consorts is ornated in gracious ornaments.
Siddha Bhairavi, Odisha
Siddha Bhairavi Temple is a Famous Shakti Shrines situated at Mantridi in Ganjam district of Orissa India. Here the presiding deity is Goddess Bhairavi. Carved in crude fashion, the idol features one leg and four hands. It is said that this idol was excavated from a ploughed field and was enshrined as such in a newly adorned temple in the year 1937. All the Sankranti days in every month of the Hindu Calendar and Tuesdays are considered auspicious here.The temple is on the National Highway 5, about 18 km from Berhampur. Berhampur Railway Station is the nearest railhead.
Other Attractions
The temple houses 108 sub shrines dedicated to all Hindu gods present from Kashmir to Kanyakumari like the 12 jyotirlingas, Vaishno Devi, Dashavatara, Venkateshwara, Ranganatha, Meenakshi, Badrinath.A big shrine is also present which houses Lord Jagannath along with his siblings.It is believed that at the end of Kaliyuga Bhairavi devi will accompany Kalki Avatar in restoring DharmaSureswari temple, Odisha
Sureswari temple or Sursuri temple is located at the left bank of Tel River towards the south-west of the confluence of Mahanadi and Tel River. This temple is located in the temple town of Sonepur, Subarnapur district, Orissa, India. The presiding deity is maa Sursuri and well known as one of the oldest Shakti shrine. The word Sureswari is the sankritised version of Sursuri.Transport
Sonepur is well connected to nearest railhead Balangir.By road regular bus services are there from Bhubaneswar.Cuttack, Berhampur, Sambalpur.Subarnameru Temple, Odisha
Subarnameru Temple is situated in Sonepur town in Subarnapur district of Orissa.It is a shrine for the worshipping of ShivaLegend
Popular story of Gold coin Rain is associated with this Place, with this Temple when an ardent devotee asked lord for help,so the name is Sonepur or Subarnapur.The Place attracts thousands of visitors and Pilgrimages for its scenic beauty as this temple is situated just on the Bank of Tel River.Major festivals are Shivaratri and Kartik Purnima.Transport
Sonepur is well connected to nearest railhead Balangir.By road regular bus services are there from Bhubaneswar.Cuttack, Berhampur, Sambalpur.Kosaleswara temple, Odisha
Kosalesvara temple or Kosaleswara temple located at Baidyanatha of Subarnapur district, Orissa, India. In the balcony of the brick-built jagamohana hall of this temple a peculiar Kirtimukha head is carved on brick. From the mouth of this kirtimukha a bunches of leaves are flowing down. Such arts are found carved on the Laksmanesvara temple located at Sirpur of the Chhattisgarh state, which was built on 8th century.
Patali Srikhetra, Odisha
Patali Srikhetra is a famous place with significant historical importance for Subarnapur district, and Orissa. This religious place is associated with Shaktism, Buddhism and Vaishnavism. It is located in the foot of Trikut Hill at Kotsamalai of the Birmaharajpur subdivision of Subarnapur district, Orissa, India.[1] It widely believed that the idol of Lord Jagannath, Balabhadra and Devi Subhadra were kept hiding in the caves of the Trikut for a period of 144 years.Raktavahu and Patali Srikhetra
The Madalapanji describe that during the invasion of Raktavahu, a king named Sovanadeva of Orissa escaped with the images of Lord Jagannath, Balabhadra and Devi Subhadra. He then reached the Kosal tract in Sonepur and buried the images at a place called Sonepur-Gopali. After 144 years, a king name Yayati Keshari of Somavamsi dynasty got the images and made new images. He built a temple at Puri and enshrined the idols.Archeological evidence
Subsequently Archeological Survey of India team led by Dr. Dimiri and State Archeology led by Dr B.K. Ratha in the company of State Architect Mr Beura paid a visit and testified the linkage of Patali Srikhetra with Srikhetra and also found archeological properties of pre-historic importance.Taratarini Temple, Odisha
Tara Tarini Sthana Peeth is on at Kumari hills on the bank of Rushikulya River near Purushottampur in Ganjam District, 30 km from Berhampur, in the state of Orissa, India. The Twin Goddesses Tara and Tarini are worshiped at the temple as manifestations of Adi Shakti. The Taratarini Hill Shrine is one of the oldest pilgrimage centers of the Mother Goddess and is one of four major ancient Shakti Peethas in India.[1]The mythological texts recognize four major Shakti Peethas: Tara Tarini (Stana Khanda), near Berhampur; Bimala (Pada Khanda) inside the Jagannath Temple (Puri); Kamakhya (Yoni khanda), near Guwahati; and Dakshina Kalika (Mukha khanda) in Kolkata. There are fifty two other sacred Shakti Peethas, which originated from the limbs of Mata Sati's corpse in the Satya Yuga.
The great mythological texts including the Shiva Purana and the Kalika Purana (the Asthashakti) recognize the four major Shakti Peethas. Like (Bimala, Pada Khanda) inside the Jagannath Temple, Puri, Orissa, (Tara Tarini) Sthana Khanda (Breasts), near Berhampur, Orissa, (Kamakshi, Yoni khanda) near Guwahati, Assam and (Dakhina Kalika, Mukha khanda) in Kolkata, West Bengal originated from the limbs of the Corpse of Mata Sati. In a hymn, the Kalika Purana (Asthashakti) clearly says:
[[“Vimala Pada khandancha, Stana khandancha Tarini (Tara Tarini), Kamakhya Yoni khandancha, Mukha khandancha Kalika (Kali) Anga pratyanga sangena Vishnu Chakra Kshate nacha……..”]]
Further explaining the importance of these four Peethas the Brihat Samhita also gives the geographical location of these Peethas. For Example:
“Rushikulya Tate Devi, Tarakashya Mahagiri, Tashya Srunge Stitha Tara, Vasishta Rajitapara"
Thus, there is absolutely no dispute regarding these four Adi Shakti Peethas and their locations.
The Deities
The Goddesses Tara and Tarini are represented by two stone statues with gold and silver ornaments. Two brass heads, known as their Chalanti Pratima, or Living Image, are placed between them.The abode of Maa Tara Tarini
Adi Shakti Goddesses Tara Tarini have been regarded as the presiding deity (Ista-Devi) in many parts of and in most of the households in Orissa. This Holy Shrine is situated in the eastern coast of near the ; about 30 kilometers away from the commercial nerve centre of Orissa, Berhampur. The historically famous Jaugada rock edict of Emperor Asoka and the pious river Rishikulya, which has been described in Rig Veda as ‘Gangayah Jyestha Bhagini’ (i.e. the elder sister of the ), are also present near this holy shrine. Since time immemorial, Adyashakti is being worshiped here as Devi Tara Tarini on the blue capped holy mountain of Tarini Parvat/Kumari hills/Ratnagiri/Purnagiri. At the hill top a beautiful stone temple is the abode of Maa. Two stones anthropomorphized by the addition of gold and silver ornaments and shaped to be seen as human faces are the main Shrine of this temple which represents the Goddesses Tara and Tarini. In between them are placed two fully celebrated and beautiful brass heads as their Chalanti Pratima or their Living Image. Worship at this important centre of Shakta cult has been continuing since time immemorial
Highlights of the History of Tara Tarini Shakti Peeth (Kalyan Dham)
According to the Mythological Puranas the origin of Maa Taratarini is directly attributed to Daksha Prajapati’s Jagna in Satya Yuga. The famous Shakta Peethas of Bimala, Tara-Tarini, Dakshina Kalika and Kamakshi originated from the limbs of the divine Corpse of Devi Sati. Mythological sacred texts like the Shiva Purana, the Kalika Purana, the Devi Bhagabat (a contemporary text of the Mahabharata written by Shri Vyasa Dev around 6000 years ago) attest this fact.- It is known from the Mahabharata that before the commencement of the Mahabharata war Lord Srikrishna had advised Arjuna to offer prayer for victory at Shridevi kupa or Bhadrakali. Bhadrakali originated from the limbs of Sati like the other four major Adi Shakti Peethas, which existed during the time of the Mahabharata or around 6000 years ago. This is the oldest data/information we get till date, regarding the existence of the Shrines originated from the limbs of the divine Corpse of Devi Sati.
- According to available historical sources the fall of Kalingan Empire and its capital Sampa (Samapa) in the Kalinga war around 2300 years ago by Mauryan Emperor Ashoka, strengthened the grip of Buddhists in this part of India. The then Sampa was hardly 7 km away from Taratarini Hill Shrine. So, scholars believe that Taratarini was worshiped as the principal deity (Ista-Devi) of the mighty Kalinga Empire. After Ashoka conquered Kalinga scholars found it a famous centre of Buddhism. The region of Ganjam near the bank of river Rushikulya was an active Buddhist site as shown from the Special Rock Edicts of Ashoka found at Jaugada at a distance of 4 km from Tara-Tarini Hill Shrine. The name Tara (Buddhism), an important deity of Mahayana Buddhist Pantheon, is suggestive of Buddhist influence. An image of Buddha in meditation, present inside the sanctum sanctorum of the temple lends credence to the claim of this site as an ancient centre of the Buddhist Shakta cult.
- According to the texts of Mahayana Buddhists, in the initial days, the Buddhists didn’t believe in the worship of Goddesses or in Pratimapuja (Idol Worship). But, the ecclesiastical texts of Mahayana’s reveal that from 1st century AD after the fall of Kalinga, for the first time the Mahayana Buddhists accepted the worship of Mother Goddess ‘Tara’. So there is seldom any doubt that the Buddhists have learned the ‘Tara’ Puja concept from this Shrine. The Bouddha Tantrik texts, texts of Vajrajani sect and Hindu Tantrik texts also attest these facts. Scholars believe that in the primary days the Buddhists worshiped Taratarini, the principal seat of Tantrik sect in Hinduism at that time, as Bouddha Tara, and later on included ‘Tara’ as the Tantrik deity or spouse of bodhisattva Avalokiteshvara in their belief system. Gradually this ‘Tara’ worship spread to different parts of the world.
- Besides the worship of Tara by the Buddhist Tantrikas, the 'Maritime History' of Kalinga also suggest the worship of Tara by the Sadhavas, merchants and seamen before launching their sea voyage from the great sea ports like Dantapura (Gopalpur), Pallur near Chilika Lake, kalingapatna and river Rushikulya . It is important to mention, that all these major Sea ports of the ancient world were present very near to the Taratarini hill Shrine.
- According to folk lore, it is around 8th Century AD when Jagadguru Sankaracharya toured the whole country, that he discovered this Shrine. But, it did not exist in its present form. After long try he came to know that this ancient Shakti centre was under the control of Buddhist tantrikas. Then he released this Peetha from the control of Bouddha tantrikas and handed it over to Hindus.
- It is known from the available sources that till 17th century this place was out of the sight of the common man. But, according to a folk story once Maa Taratarini appeared as two sisters in the house of Shri Basu Praharaj. He was a learned Brahmin of Kharida Vira Jagannathpur village in Ganjam District and one of the great devotees of the Mother Goddess but child less. After staying for some years one day both the sisters disappeared suddenly from the house of Basu Praharaj and according to the account of the villagers both the sisters traveled up to the Tarini Parvat/ Ratnagiri and disappeared there.
- Basu Praharaj searched these two sisters but did not find their tracings. His heart broke down with grief and pain. On that night he saw a dream where the Goddesses Tara and Tarini informed Basu Praharaj that actually they were not his daughters; but they are the Adi Shakti,
- After that divine direction Basu discovered the tracings of ancient most presence of Adi Shakti Tara Tarini on the sacred Hill Top and immediately took steps to reconstruct the temple and the Shrine. Since that time for its magnetism and sanctity this Sthana Peetha (Breast Shrine) of Mata Sati, became a centre of faith and reverence for countless numbers of people, out in search of peace, tranquility, guidance and spiritual energy and its fame spread like wild fire to become one of the popular religious destinations for millions of devotees. (Excerpts from R P Tripathy's article)
The location of this shrine along the river Rushikulya (also called the Rushikalyani Saraswati and known as the elder sister of the Ganges in the Vedas) enhanced the religious and cultural significance of the Tara Tarini Sthana Peeth also known as Kalyan Dham).
- Chaitra Parba/ Chaitra Mela/ Chaitra Yatra at Taratarini Hill Shrine
- Significant features of the Chaitra festival are as follows;
- Hair Offerings during Chaitra Mela
Location
The temple is located at 19°29′N 84°53′E. The nearest airports are Bhubaneswar-174 km & Vishakhapatnam-240 km from the Shrine, and the nearest railway station is Berhampur city, 32 km from the temple. Taxi services are available from Berhampur, Bhubaneswar, Puri to Tara Tarini, and regular bus service is available from Berhampur to the Tara Tarini Junction.Upper Bagh Devi Temple, Odisha
Upper Bagh Devi Temple is an ancient shrine at Kulada, Ganjam District in the state of Orissa in India. The temple is about 8 km from Bhanjanagar, 102 km from Chhatrapur and 140 km from Bhubaneswar. The nearest railway station is at Berhampur, 88 km away.Temple
The presiding deity of the temple is Goddess Bagh Devi. This hilltop temple is accessed by 210 steps. Another shrine of Goddess Bagh Devi has been built at the foot of the hill.Its people's believe that there were three sisters (including Upper Bagh Devi). One is more upper of current Upper Bagh Devi Temple is also called as Bada Raula (may be means big sister) and there is another temple simply called as Bagh Devi (youngest sister) near to Jagannath Temple. People say that these three sisters always fought each other for Coconut and then once decided that they can divide the region who will stay where. So they throw three Lotta (type of rounded drinking container widely used in Orissa for drinking water). One stuck in the same place where Bada Raula is staying currently, second one stuck in the place where today called as Upper Bagh Devi and the third one was fallen into a Pond which currently a temple which is below the ground level. Then Kavi Samrat Upendra Bhanja got indication from devi (through dream) that he may need to build temple in these places. Gradually the temple were built and renovated but the Bada Raula's Temple was never built since it is very difficult to go there as there is no steps to go there till now.
The temple celebrates the Sankranti day of every month. Thakurani Yatra, celebrated every three years, and Rathyatra are also held in grand manner.
A temple dedicated to Lord Jagannath, Mausimaa Temple, and Ratneswar Mahadev temple are nearby worship places.
Varahi Deula, Chaurasi, Odisha
Varahi Deula (Devnagari:वारही देउळ, is an ancient 9th century built temple situated on the eastern coast of Orissa in Puri district.
History and Tradition
The temple was built in honour of Varahi by Somavamsi or Chandravamsi kings during early 9th century. The main temple is like the Khakhara style belonging to Kalinga Kingdom architecture. Other such example is Vaital Deula, in Bhubaneshwar.The sanctum houses the pot bellied and three eyed image of Varahi, who holds a fish and bowl. The mount of the goddess is a buffalo and she is in sitting pose of Lalitasana and locally called as Matsya Varahi. The goddess is worshipped as per Tantra and daily mid-day khichdi and fish are offered as Naivedhya. The semicylindrical shape of the temple shows the variation from the medieval temples of Orissa. Daily the Mahaprasad of Lord Jagannath comes to this temple.
Festivals
Major festivals includes Vijaya Dashami and a fair in Chaitra.Location
Chaurasi village is located near Kakatpur, easy transport is available from Puri and Konark. It is located 65 KM Puri.
Om Tat Sat
(Continued...)
(My
humble salutations to the great devotees
, wikisources and Pilgrimage tourist guide for the
collection )
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