Diverse Aspects Of Durga Puja

Diverse Aspects Of Durga Puja

The Absolute, infinite spirit is manifested through Shakti. The divine properties and power principle, like existence and its essence, are inseparable like fire, its burning power and illumination. Ancient seers therefore contemplated a comprehensive and convenient image of Shakti for worship of the Absolute as primordial energy ­ ichhashakti, jnanashakti and kriyashakti, the cosmic principle of will, force, wisdom and dynamism of doing. The concept of Devi Durga encompasses all three as manifestation of the Absolute's supreme power.

The concept of Divine Mother as the focal point of human worship is found in the Harappan civilisation. But the literary record of the same is traceable right from the Rig Veda where we find the wonderful hymn, Devishuktam. Here the goddess declares that she is the supreme power behind all creation. Kenopanishad refers to her as Uma Haimavati. In Tantra cult the goddess acquires different dimensions in the form of 10 great wisdom forms (Dasha Mahavidya). But in Devi Mahatyam, known as Chandi in Markandeya Purana, composed around the 6th century CE, the worship gained significance.

The present schedule of Durga Puja during early autumn was initiated by Rama, who had invoked the goddess for divine power before entering into fierce battle with Ravana.

Devi Durga, literally meaning the deity protecting devotees as fortress, is worshipped as the creating, nurturing, protecting, loving and, above all, liberating, deity. Apart from looking after us during our earthly abode she ultimately delivers us from darkness of delusion by cutting our sense-bondage with 10 weapons in her 10 hands leading to final dissolution of the indomitable ego ­ by making it realise that she is the cosmic life force behind creation and all creatures owe their existence to her.

The image of Durga as Mahishasuramardini is a comprehensive form for human worship. We seek refuge in God predominantly for material prosperity, protection from enemies, intellectual and artistic excellence and finally for ultimate realisation overcoming human bondage. The four offspring of Lakshmi, Saraswati, Ganapati and Kartikeya are the giver of all material gifts as the deity of wealth, learning, wisdom and prowess. The metaphorical image of Durga displays the cut-off buffalo or darkness of delusion from which comes the demonic ego of Mahishasura to be succumbed by the goddess standing over a tamed lion, the symbol of subdued animalism.

Above the spiritual undercurrent a series of mythological content satisfies popular taste and poetic feelings. Devi Uma, along with her four offspring, is coming to her parents Himalaya and Menaka for a short period of three days. A typical domestic sentiment and Indian mother's concern for a married daughter inspire a set of melodious Bengali songs called Agamoni. While the legend of Sati ­ the destroyer of Daksha's sacrifice ceremony ­ has a different appeal, the emergence of Chandi at the combined prayer of the gods for their protection by destruction of demons forms an important metaphorical myth.

The scheme of the puja covers the whole gamut of God-consciousness: invoking her nurturing nature, wealth, learning and fine arts, and wisdom together with military prowess. Ultimately the worship for mundane and material prosperity leads to unison with the cosmic creative energy of the Absolute after dissolution of the ego.

The grand celebration with multidimensional appeal involves everybody in the community. The innovative image of the goddess, the pandal, release of special issues of literary magazines, all go to creatively, socially and economically involve everyone, making it a celebration for creation, unison, elevation and, above all, awakening of higher consciousness.

Om Namah Shivay