CHAPTER III

DAILY PUJA RITUALS IN THE JAGANNATH TEMPLE

3.1 Introduction

Rituals are said to be the cultural practices prescribed by a tradition or society. The
word „ritual‟ is derived from the Latin 'ritualis', which means „the lawful
celebration of custom‟. They correspond to the established social order of exhibiting
religious activities and provide an additional meaning to convey the underlying
message of a particular religion through certain practices and celebrations. Rituals are
characterized by traditionalism, formalism, consistency, communal governance,
spiritual symbolism and celebration. Needless to say that rituals are society
specifics and religion prospectives. Each religion has its unique set of rituals in
respect of methods and modalities for which it stands distinguished from others.
These are to encourage one‟s faith in specific religiosity and to embrace a
sanctimonious mode of life with the worship of reverend deity.
Worship in Hinduism might be estimated as an act of devotion in which
invocation of Bhakti (devotional love) is expected. As we find different sects and
deities in Hinduism, the methods of worships also differ from one another by taking
multitude of modalities depending on 'isms' and approaches. Sometimes the Hindus
perform worship to achieve certain objective. Sometimes the performance is
undertaken for the integration of body, mind and spirit of the worshipper in order to
evolve his 'Self' unto a higher state of realizing the Ultimate Reality with Cosmic
Consciousness. Within the campus of Hinduism a considerable number of Gods and
Goddesses are worshipped as icons and anicons (murties or pratimas). They are
considered as the aspects of the Almighty God or His incarnations. More significantly
these powerful entities are known as Devatas (Gods) and Devis (Goddess).
These beings are often worshipped in humanoid or partly humanoid forms having
a set of unique iconography and unique sanctums or temples.

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3.2 Evolution of Daily Rituals in the Jagannath Temple

Jagannath temple is a distinguished Hindu sanctum where the elements of

different 'isms' are reflected in its rituals. Since Lord Jagannath is venerated as
the supreme lord of the universe together with the sovereign monarch of Odisha, the
entire ritual system of Lord Jagannath is developed in connection with such dual
prospectives in view. Multitude of functionaries are involved in the elaborate and
complicated process which is inextricably interlinked with so many legends,
fabricated stories, theological clarifications and extensive rituals of mixed nature.
Sometimes these factors unveil internal contradictions, conspicuous incongruities and
irrational features while trying to satisfy certain fundamental queries of devotees. It is
for the federation of different religious convictions and customs. Its ritualistic
peculiarity is also highlighted for the incorporation of Vaishnavite, Saivite, Sakta and
Tantric elements.

While discussing something about the consecutive sectarian influence on the

ritualistic practice of Jagannath worship, one must be conscious of the fact that the
tradition of Lord Jagannath at Puri started to be metamorphosized into a cult after
the amendments adopted by Sankaracharya (the pioneer of Advaita or non-duality
philosophy) through the process of sectarian synthesis in the shadow of
'Sanskritzation'. It is noteworthy to mention that 'Sanskritization' does not agree to the
imposition of a different aspect upon an old one, but the acceptance of a more
adoptable, distinguished and estimable elements on the way of progress.

Sankaracharya was born in a Namboodari Brahmin family of Kaladi (Keral) in

th
the 8 century A.D. Later he became a disciple of Govinda Bhagavatpada and set
for a tour across India, in course of which he set up five monasteries as the centres
of Advaita (non-duality) concept, keeping his eye on India's geography. The
monasteries are at Badrinath in the north, Dwarka in the west, Puri in the east,
Sringeri and Kanchipuram in the south of India. His visit to Puri, composition of
Jagannathastak (a hymn in praise of Lord Jagannath), establishment of monastery
known as Gobardhana Pitha and royal patronage might have induced him to
introduce some religious reformations in the Grand Temple. He believed that
ritualistic offerings would be categorized as formalities to satisfy the devotee's

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earnest desire to serve his Lord. Sankar specified two phases of one's devotional life
who expects to realize God.

“It is either Samadhi or mystic trance when he turns inwards and

loses himself in Brahman, or the condition known as Vyutthana or
reversion to common life when the spectacle of the world returns
but does not delude him since he has, once for all, realized its
metaphysical falsity.” (Patnaik 30)

The influence of Buddhism, Tantricism and other heterogeneous faiths and

faculties made hindrances on the proceedings of Jagannath cult till then. Sankar
after winning the favour of the monarch included some new modes of worship in
the Grand Temple. He also gained the kingly approval that only the priests trained
in Gobardhana Pitha would serve in the temple and the head of the monastery must
preside over the Muktimandapa, the assembled highest council of the temple.

It is unanimously accepted that when Sankar stepped in Puri, there was

only one idol worshipped in the Grand Temple that was the idol of Lord
Jagannath. In order to harmonize and synthesize Saivism with the embryonic cult
of Lord Jagannath, he established Balabhadra as Siva and Subhadra as Maheswari
together with Jagannath on the sacred sanctum of the Temple. “Saivism, Tantrism
and Saktism seem to have been inseparably mixed up and formed a strong amalgam
during this period” (Panigrahi 334). The present Jagannath Triad is thus the witness of
Sankar's reform. The system of worship of the deities exclusively by the Daitapatis
(non-Aryan servitors in charge of the deities during the pre and post festive days of
the Car Festival from Bathing ceremony to Niladri Bije or the return of the Deities
to the Grand Temple after the Car Festival) during Anabasara (Lord's seclusion for
the fortnight after bathing ceremony) was commenced by him with royal approval. It
symbolizes his assiduous effort for a non-Aryan synthesis, as the Daitapatis are of
Brahman-Sabara ancestry. During his visit too, 36 categories of temple servitors
(Chhatisa Niyoga) ranging from the priest to sweepers, came to be established
with specific assignments. The capstone of the cult was his prescription of
Panchadevata Puja (worship of Narayan, Siva, Durga, Ganesa and Surya) and
fusion of different dissimilar deities together.

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 After Sankaracharya, a good number of religious reformers stepped in Puri at
different times to add shades and contours to the evolving cult of Lord Jagannath.
Saint Ramanujacharya (1017-1137A.D.) from south India was a significant one who
replaced the prevailing Saivite mode of worship in the temple by exclusively
Vaishnavite mode.

P.Mukherjee in his book, The History of Medieval Vaishnavism in Orissa,

advocates that Ramanujacharya visited Puri in 1122 A.D. and stayed there till 1132
A.D. During his sojourn Ramanujacharya inspired King Chodaganga Dev to adopt
Sri cult (a branch of Vaishnavite tradition). It is probable that Chodaganga
accepted Ramanuja as his spiritual guide and assigned Acharya to manage
religious institutions in the Grand Temple. The sacred marks on the forehead of
Lord Jagannath, Lord Balabhadra and also at the top of the Grand Temple indicate
the influence of Ramanuja on the cult. He fostered the growth and development of
Jagannath cult by describing himself as Vishnu. He was successful to introduce the
Pancharatric system of worship (worship based on Samhita or Tantra) in the temple,
which was to be supervised by the Emar Matha established by Ramanujacharya.

There are two schools of Vaishnava theology namely the Vaikhanasa and the
Pancharatra. The Vaikhanasa mode uses Vedic hymns and mantras. Its rites have a
much archaic character. The Pancharatra, on the other hand, has been more
centrifugal and liberal character which has resulted in absorption of much from
the less orthodox religious traditions. Literally the word 'Pancharatra' means 'a unit
of five nights' (Pancha means five and Ratra means Night). In Vaishnava
philosophy the term Ratra refers to Jnana (wisdom). It is to impart five branches of
Jnana such as Tatva (cosmic knowledge), Bhaktiprada (devotional knowledge),
Muktiprada (knowledge of liberation), Vaisayika (knowledge of desire) and Yaugika
(knowledge of Yoga). It establishes the major penta-aspects of Purusottama Lord
Jagannath. These aspects are namely Para (grandest), Byuha (emergence), Bibhaba
(embodiment), Antarjyamin (denizen) and archa (worship). Collectively the
knowledge of these five aspects is known as Pancharatra.

Jagannath is worshipped by the ten-syllabled hymn of 'Om Gopijanavallavaya

Svaha' as well as the eighteen-syllabled one of 'Om Klim Krishnaya Govindaya
Gopijanavallavaya Namah'. The 'OM' or 'Pranava' is basically of Vedic origin
where as 'Klim' is associated with the Tantric mode. The Vedas explain that there

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are four syllables in Pranava. "These four can be said to be reflected in Jagannath,
Balabhadra, Subhadra and Sudarsana. This must have impelled Ramanuja to introduce
Pancharatra mode of worship in the temple" (Patnaik, H. S. 36).

Another significant innovation of this period was the introduction of mahari

(virgin dancers consecrated to the Lords) tradition in the paraphernalia or the
worship of the deities. They were classified as Nachuni (dancers), Bhitara Gauni
(singers performing outside the main shrine), Patuari (dancers during ceremonies)
and Gaudasani (fanners). The vantage location of Emar Matha (south-east of the
lions gate), Dakhinaparswa Matha (of the south gate of the Grand Temple) and the
Raghunath Matha neighbouring it indicate that these are mutually contemporaneous
and witness of Ramanuja's popularity and impact in ancient time.

The cult of Jagannath was subjected to metamorphosis from the 13th century
onward. By this time the Vaishnavite trend of Jagannath cult assimilated the
worship of the Sun within its fold. Consequently the famous Sun Temple at Konark
was built by Narasingha Deva (1238-1264 A.D.). History says that the 14th century
was a period of regular threats to the cult and culture of Lord Jagannath. Due to the
Muslim invasions on the establishment, the deities had to be removed to safe and
reclusive locations approaching the Chilika lake in order that they might not be
destroyed by the Muslim intruders. The turmoils of this century appear to have been
postponed from adopting any form of evolution.

The 15th and 16th centuries may be portrayed an axial era in the history of
Jagannath cult, when the social cultic consciousness accepted a new animation, with
the visits of different saints. Kabir Das (1440 - 1518), an Indian saint and mystic poet
of the 15th century propounded the message of humanism and devotion to Lord
beyond the barriers of casteism or sectarian dogmas. Guru Nanak (1469-1538) was
another significant north-Indian saint who raised voice against formalism in the
temple to demonstrate integration among humankind. He advised his devotees that
the law of life is to love each other and through love one has to awaken the spirit of
devotion towards the Lord. Similarly, during 16th century the Odia Vaishnava poets
like Balaram Das, Jagannath Dasa, Achutananda Dasa, Ananta Dasa, Yasobanta Dasa
who were known as Panchasakha (five branches of Odia Vaishnavism) had varied
attributes of Vaishnava worship in the name of Krishna Mantra, Radha Mantra,
Rama Mantra, Gopal Mantra, Shyama Mantra respectively. Hence the cult of

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Jagannath became an effective compendium of the various schools of Hindu thought
propounded by spiritual authorities with the passage of time.

Sri Chaitanya (1486-1534), one of the celebrated exponents of medieval

Vaishnavism visited Puri in 1510 A.D. Ramananda, Swarupa Damodara, Sila
Mohanty, Sarvabhauma and Madhavi Dasi were his close associates. He regarded
Lord Jagannath as Sri Krishna, the Grand Temple as Dwarka and the Gundicha
Temple as Vrindavan. He also explained that passionate love for God was the fifth
and final stage to realize God. The first four steps are indifference to the world,
active service to God, devotion transcending caste barriers and tenderness for Him.
The simple and undiluted devotion gained preference over ritualistic perfection
with the arrival of Sri Chaitanya.

Chaitanya's movement was based on equality between the brahmins and the
non-brahmins. It also gained royal support and patronage. As a result, the concept of
Radha-Krishna got room in the cult of Jagannath. It gained popularity through
the holy myth Bhagavata by the saintly poet Jagannath Dasa (1491-1550). This
Krishna-orientation encouraged the cult and attracted most of the Vaishnavite faiths
to merge into the absorbent cult of Jagannath.

A novel feature of Chaitanya's movement is the association of the cult of the

Mother Goddess with the cult of Jagannath. Jiva Goswami (one of the companions of
Chaitanya) while making a commentary on Sri Brahma Samhita said that the deity
who is Krishna, the same is Durga. (Gaudiya Math, Madras, 1932, Ch.V, p.3). It
describes Durga as the Sakti (energy) of Gopala Krishna. A Tantric work of
Krsnananda Bhottacharya (17th century), Tantrasara, defies the hypnotic aspect of
Krishna and suggests the Kamabija (Klim) as the principal hymn to invoke the
supernatural energy. Hence, this mantra (om klim krishnaya govindaya) has been in
use in the worship of Jagannath at Puri. Ostensibly Chaitanya was not repugnant to
the confluence of Durga Krishna concept. Later Devi Subhadra gained popularity as
Ekanansa (incarnation of Durga) in the 16th - 17th century cult of Lord Jagannath.

The reign of Prataprudra Deva marked the zenithal growth of Vaishnavism in

Odisha due to the incorporation and synthesis of multiple faiths and practices in the
Grand Temple. In the observation of certain Vaishnavas Lord Jagannath became
unified symbol of Purusa and Prakriti. The scholars of spiritualism revered Him

54
as a symbol of Cosmic Consciousness. A close study of His Puja rituals which
is a part of the prolonged daily rituals in the Grand Temple, may bring out the
essence of cosmology attached with it. For the sake of clarity and continuity a brief
description might be useful.

3.3 Daily Rituals in the Jagannath Temple

Lord Jagannath has been eulogized explicitly in the sacrosanct scriptures of

Hinduism. He is portrayed as the Lord of the Universe (Jagat-Natha), The Lord of
Lords (Debadhideva), The King of Kings (Rajadhiraja) and The Supreme Soul
(Purusottama), for his magnanimity, intangibility as well as humanitarian projectivity.
In the compound of Jagannath Consciousness the distance between devotee and
Divinity has been bridged. Although the daily and periodical rituals performed
and celebrated in His service bear the remarkable dignity and grandeur, the operance
maintains parallelism with common run of human life. The amalgamation of usual
humanoid habits have given the cult a unique status.

The synthesis of rituals in the Grand Temple is entrancing and intriguing,

while being performed by about 118 categories of servitors (Sebayats) throughout the
year. Surprisingly, this ritual system is so interlinked with each other that if any
definite service (Seba) is withheld, the proceeding of the rituals would be ceased. It
denotes the inter-dependence of ritualistic pattern in the temple while preserving the
dignity of servitors and discipline in the system.
The entire ritual system in the Grand Temple is classified into three
categories- daily rituals, periodic rituals and occasional rituals. Daily rituals (Nitis) are
mandatory and performed everyday as routinary. Periodical rituals involve different
festivities and celebrations (Yatras). Occasional rituals are undertaken on the days of
solar or lunar eclipses and mishaps in the Temple. Certain other occasional rituals
are also performed during the visit of the Gajapati, the Queen or the King of Nepal
for their reverence. Besides these, there are some secret rituals like Navakalebara and
Anabasara which have been prohibited for publicity or publication. However, the
daily rituals in the Temple can be communicated chronologically.

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(1) Dwarphita and Mangal Arati
(opening of the Temple doors and auspicious offering of lights)

The ritual of the day commences with the ceremonial opening of the doors before the
dawn in the presence of five servitors (Sebayats) such as Bhitarachhu Mohapatra
(servitor in charge of opening the temple and offering lamp called Mangal Arati),
Pratihari (servitor to guard and protect deities), Muduli (storekeeper), Akhanda
Mekapa (servitor to arrange and light perpetual lamps) and Palia Mekapa (supervisor
of Lord's adoration). Bhitarachhu Mohapatra examines the seals, placed on the pad-
locks given in the right before. Muduli opens the Jaya-Bijay door. Then the Kalahata
door is opened. After the opening of all the doors, the inner sanctuary of the
establishment is purified in sacred water, which is called Bhitarasodha (purification
of inner part).

The subsequent ritual following Dwarphita is Mangal Arati which is

performed with the chanting of hymns as well as blaring of traditional musical
instruments known as Mangalabadya. This Arati refers to the sacred illumination
while holding a lighted lamp in front of the Lord and reciting hymns in praise of
Him. The recitation of hymns not only expresses the worshippers longing for mystical
union with the Divinity but also profound spirituality. If we accept spirituality as a
process to enhance human spirit and enable it to achieve the Ultimate Truth through
the realization of the Self within, the blare of auspicious music might be taken as a
powerful medium to evoke Gods and acquire divine consciousness.
Spiritual thinkers believe that the tradition of Arati has been designed as a
sublime process to realize God. It is to purify the gross and subtle body of the
worshipper through the spiritual evolution. The materials like camphor, wigs and
pasted rice that are used in Arati have symbolic value. They all represent Vasanas
(inherent materialistic desires) of human beings. While illumining the Lord the
material of Arati burn itself out. Similarly the worshipper when offers Arati
expects the grace of Lord to burn out all the impurities within him. Secondly, he
turns his attention towards the natural sources of light like the sun, the moon and
the stars which symbolize wisdom, peace and energy. He further realizes that all the
illuminating things in the universe illuminate only after the Lord. Moreover, we are
also illuminated with His light. The ritual of Mangal Arati lifts the worshipper from

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Individual Consciousness to God Consciousness. The pilgrims and devotees
witnessing the ritual experience how the finite Arati illumine the Infinite Lord.

(2) Mailama
(removal of dress and flowers from the deities)

After Mangal Arati, the subsequent ritual is Mailama. The clothing of the deities
as well as the flower garlands of the previous night are meticulously removed
by the temple servitors called as Pasupalakas. The deities are offered new clothing
called Tadapa and Uttariya.

(3) Abakasha

(morning ablution of Deities)

Abakasha is the usual morning ablution of the deities similar to human beings.
It is performed with the cleaning of the teeth and tongues of the idols. The deities
are given bath with the fluid substances like water, milk and curd. In reality
all these activities are done symbolically on the reflection of their images in three
bronze mirrors placed before them. In the mean time, the bath of Garuda (Lords
Conveyance) is also performed in the Nata Mandap. The bath water of the deities
and Garuda is considered as Prasad and mystically considered useful for the
patients.

The sanctum is then kept unhindered for half an hour to the public who have
access to go up to the deities. In the temple terminology this provision is known as
Sahanamela. After the prospective Sahanamela the ritual of Veshalagi (adoration)
takes place. The deities are adorned with different ecclesiastical vestments,
ornaments, blossoms corresponding to the day of the week, festive occasions and
suitability to the seasons.

(4) Rosha Homa; Surya Puja; Dwarapala Puja and Garuda Puja

(fire sacrifice in the Lord's kitchen and worship of the Sun, Door keepers and
Garuda)

The fire sacrifice in the temple kitchen is executed near the Kothachuli (common
stove) by Pujapanda (worshipper of the main deities) before the initiation of the
cooking process for the day. The worship of Sun God (Surya Puja ), Dwarapala

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Puja and Garuda Puja are also done just after Rosha Homa by the same
servitor.

(5) Gopala Ballav Bhoga Puja

(offering of breakfast)

The first fooding of the deities is Gopal Ballava Bhoga (offering of sweet popcorn
khai, khua, laddus, coconut sweets known as kora, ripe banana, curd and chipped-
coconut). It is followed by Sakala Dhoopa (morning dish). This time the edibles
include rice, dal lentils, curries and different condiments.

(6) Mailam and Bhogamandapa Puja

Mailam is a mandatory practice which is performed after each Dhoopa. The

adorations of Lords are changed. Simultaneously, the second round Dhopa for the
deities are arranged in the Bhogamandapa (a place behind the Garuda pillar of
Jagamohan). The edibles like cooked rice, curries and cakes of different kinds are
offered to the deities this time. The offering ends with the waving of lamp (Arati).
Later the Lords go for rest (pahuda).

(7) Sandhya Arati

(evening lustration)
Almost every form of Hinduistic worship is associated with Aratrikam that is
lustration. Sandhya Arati (evening lustration) is a significant part of daily rituals in
Jagannath Temple. It consists of four distinct categories of lights offered to the
deities in four different phases. They are Karpura Arati (lustration with camphor),
Saptavati Arati (lustration with seven cotton wicks), Pistaka Arati (lustration with
seven sticks ghee soaked cotton wad stuck in the dough of sunned rice powder) and
Mahanirajana (big lustration with a metallic lamp).

(8) Sandhya Dhoop

(evening puja)
This is the evening refreshment of the deities, sponsored by the temple administration
and offered by the assigned servitors who are engaged in Sakala and Madhyanha
Dhoop rituals. Subsequently Mailam (adoration of the deities with silk garments),

58
Chandanalagi (smearing of Lords with a sacred mixture of sandal paste, musk and
camphor) and Badasinghar Vesha (night adoration of Lords) are performed.

(9) Badasinghara Vesha

Among all the daily rituals the most fashionable is the Badasinghara Vesha. During
this ritual the deities are decorated with gorgeously luxuriant floral apparels like
Chandrika, Karapallab, Kundala, Tadagi to enliven the deities. At this time too
various edibles are offered to the Lords as a part of the ritual. The recitation of the
Gitagovinda during the adoration, makes the environment more sensitive after
which they go to their respective beds known as Khata- Seja Lagi and Pahuda
(Lord's retirement to beds and closing of the doors)
The sophisticated daily ritual performed in the Grand Temple has brought a
unique glory to the cult of Lord Jagannath. It demonstrates devotion of the
servitors to place their Lord in the galaxy of luxury. On the other hand the
procedure of Puja rituals adopted in the Grand Temple has been recommended
for the realization of Cosmic Consciousness.

3.4 Mode of Puja Rituals in the Grand Temple

The mode and modalities of Jagannath worship seems unique in the Grand
Temple at Puri. It has been developed in a systematized procedure by congregating
various elements from Vedic and Tantric and Vaishnavite systems. The process of
Vedic system is known as Karmakanda. The practice of Tantric system has
developed with the assimilation of Saivism, Saktism and Vaishnavism. Its aim is to
precipitate the cosmic energy in the worshipper so that he would be able to reach the
higher state of Cosmic Consciousness by transforming each activity of life into a
ritual.
“The action of bathing, dressing, sitting for worship, offering
various symbolic sacrifices, sexual relations, stages of
development from inception to womb, birth to marriage etc.
are transformed into worship. The aim of Tantra is to
unleash the Cosmic energy in man, so that he rises to higher
level of awareness.” (Saraswati 335-336)

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It is a system of spirituality including worship ritual with ethical individual conduct
through precepts of God. While the Vedic form of worship does not need any image
or idol, the Agamic form of worship requires idols as a symbolic means of worship
to reach the Cosmic Consciousness and subsequent salvation. It has certain stringent
procedures that are known as Acharas (methods).
The most significative aspect of Puja rituals of Lord Jagannath is its
catholicity which is to be arrived at not necessarily by dragging down Lord
Jagannath to the worshipper but by elevating the worhsipper to approximate to Him.
The ritualistic practice, ever since Adi Sankaracharya, has traditionally been the
pavement of such realization, pinpointing the fundamentals of Cosmic
Consciousness. As different schools of spiritualism have tried to apotheosize Lord
Jagannath in their individual sectarian beliefs, His worship has been a compendium
of complexities.
According to Sankar, the Triad is a harmonious synthesis of Saivism with
Vaishnavism. The Vaishnavite saint Ramanuja revered Lord Jagannath as Lord
Narayan Himself. For Chaitanya, Jagannath is a symbol of spiritual love. Hence,
on the way of evolution the ritualistic process of Jagannath worship has accumulated
varied elements enliveningly and projected itself as a unique form and different from
that of other Vishnu temples established in the Indian peninsula.
There are a number of texts on the rites and rituals in the Grand Temple of
Lord Jagannath. Gopalarchana paddhati by Basudev Tripathy (1700-1750AD),
Kalanirnaya by Raghunath Das (1715-1750AD), Bamadev Samhita (published by
Muktimandap Pandit Sava, Puri, 1972) Surisarvasva by Govinda Kabivusana
Samantaray (ed.Bhasgaban Panda, Orissa State Museum,1974 and 1994) are more
remarkable. In all the texts, Lord Jagannath has been identified with the mystic Vedic
Bijamantra (single syllabic sound - Om). Moreover, the Dharmasastras (scriptures)
prescribe three main streams for the Puja of Hindu Devatas. These are –Nigama,
Agama and Locachara. Nigama is based on the Vedic system while Agama is based
on the Tantric system and Lokachara is the combination of both Nigama and
Agama with some other systems, that are followed with reference to the
contemporary social conditions and authorities.
The perspective of Nigama (the Vedic system) is emerged with the
approximation: isa vasya midam sarvam which means God is all pervasive and is not
foreign to the world created by Him. He smoothly resides in it. Man is not an

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embodiment of sin fallen from Heaven and seeking redemption. Rather, the concept
of soham (I am He) makes man co-existant and co-extensive with the Creator. The
Creator and the creature are one and the same, playing the Divine drama, through
endless births, exists and is born in infinite time and space. Surrendering totally to the
Creator and the Cosmos, the tiny-self of man releazes himself from the bondage of
flesh and merges in the cosmic vastness to identify himself with the Infinite and the
Supreme Spirit. Obliterating the consciousness of the finite, he secures an absolute
freedom of thought and action for himself. The Indian Vedic system persuades the
human race in its entirety to concentrate mainly on japa, which refers to the
meditation through recitation of specific mantras to elevate respective divinity.
Moreover, the sanctity in mundanity might be consummated with effectual fire
sacrifice (yajna).
The Agamas are accepted as a collection of scriptures from several Hindu
devotional schools, describing cosmology, epistemology, philosophical perception of
meditation and practice of yoga. They also clarify the influence of mantra, worship of
God and ways to attain mundane desires. There are three significant trends of Agamas
too. These are Shaivism (Sivagama), Saktism (Saktagama) and Vaishnavism
(Vaisnavagam). The Agamic traditions are sometimes entitled as Tantrism. Although
the term „Tantra‟ is especially a referential to Saktagamas, its primary purpose is to
translate every phenomenon of life into a ritual, so that the individual world execute
every activity and thought with a feeling of worship and awareness. It believes that:
“There are two two worlds, the microcosm and the
macrocosm, the internal and the external. We get truth from
both of these by means of experience. The truth gathered from
internal experience is psychology, metaphysics and religion;
from external experience, the physical sciences. Now a perfect
truth should be in harmony with experiences in both these
worlds. The microcosm must bear testimony to the
macrocosm, and the macrocosm to microcosm; physical truth
must have its counterpart in the internal world, and the internal
world must have its verification outside.” (Vivekananda 433)
In the Agamic form of worship the worshipper not only attains purity of his heart but
also evaluates the world as the manifestation of God, Who exists therein. The very

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ritual of idol worship places the worshipper in Individual Consciousness and later in
Cosmic Consciousness.

3.5 The Contemporary Procedure of Worship in the Grand Temple

The procedure of Puja rituals is absolutely equal in respect of all the important deities
placed on the Ratna Simhasana (jewelled pedestal). The formal ritualistic presidency
before the initiation of the Puja on Ratna Simhasana, include Vaishnabagni Samskara
(fire sacrifice in the holy kitchen), Surya Puja (worship of Sun God in the south east
of the temple premises) and Dwarapala Puja (worship of Door Attendants) in front
of Jay Bijaya gate. After that, three Pujapandas subsequently take up the Pujas on
Ratna Simhasana. The senior one performs the worship of Sri Jagannath as well as Sri
Sudarshan, Sridevi and Bhudevi. Other two Pujapandas perform the Puja of Lord
Balabhadra and Goddess Subhadra respectively. Before the commencement of the
worship, the Pujapandas obtain permission from Bhairava, as He is the guardian of
the holy land and the Grand Temple. The Puja ritual starts with the ringing of the
hand bell. It has two important functions. Firstly, it drives away the demons existing
around the sanctum. Secondly, it draws the attention of the Trinity and invokes them
to the spot where the Puja is to be executed. Then the worshipper arranges the
necessary articles meant for Puja ritual and proceeds for physical purification of self.
In Indian religiosity, the human body is not considered impeccant enough to
approach the Divinity. Rather, it is evaluated as a package of impurities from physical
point of view. Hence, all the Agamic scriptures unanimously recommend the entire
purification of the devotee or worshipper with the purgation of negative elements
from thought and action through prescribed rituals, in order to communicate with
God. The worshipper has to undertake certain purificatory rites as required. It is
because the person who worships divinity should have similarities of the same. The
execution of Puja is basically a metamorphosis of the devotee into a divinity. It is a
spiritual transformation to sublime one's communication with God. This spiritual
transformation can only be obtained through Bhutasuddhi (purification of physical
elements). It is done through a process of meditation to obtain the absolute identity of
the individual spirit with the Cosmic Soul.
Meditation plays an important role in the proceedings of Puja rituals in the
Grand Temple. It is a sort of spiritual practice through which the worshipper trains his

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mind to induce a state of higher consciousness. When meditation is practised with the
recitation of mantras (hymns), it brings inward awareness calmly through eight
processes. It is the seventh step of the Indian Yogic practice. As Swami Vivekananda
opines :
“The first is Yama, controlling the mind by avoiding
externals...Be chaste in thought, word and action. Chastity is the
basis of all religions. Personal purity is imperative. Next is
Niyama, not allowing the mind to wander in any direction. Then
Asana, posture...After this comes Pranayama, restraint of breath.
Then Pratyahara, drawing in of the organs from their objects.
Then Dharana, concentration. Then Dhyana, contemplation or
meditation. And at last, Samadhi, Super Consciousness.”(124)
The worshipper obtains a blissful feeling through this Samadhi. The Individual
Consciousness is now withdrawn from the material world. The functions of mind and
senses are suspended. The worshipper gets a divine experience in which the revelation
of the causal world comes with intuition. It is the state of Cosmic Consciousness. The
worshipper gets celestial eyes, sense of universality together with eternity. Even he
feels himself one with universal understanding in the light of Lord's countenance.
Contemplating upon the body as a microcosmic manifestation of the
universe, the worshipper must have to envisage his body as the pedestal of the deity
with the sequential rites of Bhavana Chatustaya (reinforcing the feeling of oneness
with the deity), Tatvanyasa (bringing immediate proximity of the Self with earthly
phenomenons) and Murtipanjara nyasa ( activation and acceleration of the hidden
energy). The worshipper associates the concepts of purity, truth and holiness with the
deity he worships. It is the uniqueness of Hinduism which believes that the idols,
temples or books are the assets for the growth of spirituality human beings. Mankind
has to attain Divinity by realizing the Self. “External worship, material worship, is the
lowest stage; struggling to rise high, mental prayer is the next stage, but the highest
stage is when the Lord has been realized” (Vivekananda 16). Worshipping an idol is
an attempt of the worshipper (Individual Soul) to grasp and realize the Infinite. After
Tatvanyasa which is said to be the stage of proximity, the worshipper feels that
his soul is not a spark of Divinity only. Rather he feels, “All that is real in me is He;
all that is real in Him is I ”(323). The subsequent Murtipanjaranyasa is designed to
reinforce the spiritual potency of the worshipper by activating the hidden energy

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with the mystic power of the specific mantras. All these are the preliminary activities
of the puja rituals before the actual worship of the Lord.

3.6 Actual Worship of the Deity

In religious scriptures, the expression deity (Devata) is unanimously used for the
worshipable Divinity. Since antiquity, the Hinduistic puja system has adopted two
distinctive ways to meet the purpose. In the first system the deity is invited into a
Kalasa (an earthen or metallic pitcher of water, decorated with mango-leaves and
coconut on the top) and after the end of the ritual He/She is given a send off. The
second system of image worship has gained public favour in both temples and
private dwellings. In the second form of worship, the divinity is installed in a
particularly designed image or ironical symbol and worshipped through a
systematized order.

The external worship of the Divinity starts with Arghya Samskar (mystic
purification of water). Subsequently through the ritual of Atmapuja (dedication of
body and mind to the Lord) and Suddhitrayam (purification of the worshipper, mantra
and deity), the woprshipper identifies his Individual Consciousness identical to the
Lord. This purification process is designed to manifest and reinforce the
spiritual potencies of the worshipper (the subject), the Deity (the object) and the
hymn (mantra), associated with the puja ritual. The worshipper first visualizes
his body as a replica of the universe as well as the sanctum of the Divinity.
Through Suddhitraya he now realizes the deity within himself.

All the performed performances till the progressive ritual of external

worship form a prologue since these are concerned with various purifications. Now
the worshipper requests the Deity to permit him to perform the real worship with the
sequential rituals like Devata pitha Puja (worship of the Yantra which is the mystic
diagram of the Deity), Invocation of the Deity (submissive invitation of the
worshipper to the Divinity), the establishment of the Deity (making the deity
proficient and accessible), Pranapratistha (establishment of vital life substantiating
breath), offering of Upacharas (service of the worshipper towards his revered deity),
Avarana Puja (worship to the divine associates) and Puspanjalis (offering of a
handful of flowers).

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 The puja rituals of Lord Jagannath celebrated in the Grand Temple at Puri is
uniquely unique for its sophisticated procedural practice. Commencing from the day
break till the closing of the temple, various intricate ceremonies are conducted by
respective worshippers with reference to the Hinduistic scriptures to evoke Divinity as
well as to entertain Him at the end. Prasannarca (keeping the Divinity in delight)
is a part of it, which is principally performed for the sake of indulging the deity
in delight after the offering of Upacharas (elements offered to the Deity). When
the Deity sits contented, the worshipper continues to entertain Him with music, dance
or gratifying words.

A subsequent Aratrikam (lustration) is also done in which all the devotees in

the sanctum participate. After the obeisance in praise of the deity, the
worshipper goes for Rajopachara which symbolizes Lord‟s Royal characteristics.
Lord Jagannath is offered Camara (fly-whish, chowrie), Vyajana (fan), Chatra
(panasole, umbrella), Asana (throne), Trasa (shield), Vina (lute), Gita (song),
Mardala (long drum), Madhuri (Indian oboe), Ghanta (bell), Kahala (trumpet) and
Nrtya (dance). All these Upacharas are presented with the concurrent recitation of the
corresponding mantras. After the Rajopachara, certain condensed rituals like
Brahmarpana (dedication of everything to the deity), Henapuranam (making good of
short comings) Udvasana (bidding farewell to the Deity), Nirmalyagrahana
(acceptance of offered flowers and edibles), Rajasirvada (benediction to the Lord)
Prodakshina and Prasthan (circumambulation and prostration) are done one after
another. The doors of the sanctum are opened then. The Mohaprasad is carried
out and the devotees get spiritual pleasure and peace to have the glimpse of the
Lord. The Niladrimahoday (78.92) states that the dedicated pious worshipper, who
performs the ritual in the sculptural manner, enjoys all the worldly pleasures and
attains liberation at the end of the his life.

3.7 Spiritual Significance of Daily Rituals in the Grand Temple

The antiquity of Jagannath worship has been shrouded in mystery. Legendary

evidences suggest that Lord Vishnu manifested Himself in the form of
Nilamadhava on the Nilagiri which is popularly known as Shree Kshetra or Puri. An
aboriginal chieftain by name Visvavasu was worshipping the deity daily. It is

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still ambiguous to establish the previous method of worship adopted by the
chieftain. We presume that Visvavasu was unaware of the Agamic form of rituals.
The legends also state that he was only offering fruits.

With the passage of time, the process of rationalization took place and
tended to be acceptable by a larger segment of devotees and exponents of
philosophies. The Dharmasastras (religious scriptures) prescribed three significant
streams for the worship of Hindu Divinities, such as Nigama, Agama and Locachara.
Nigama form of rituals is Vedic in its core while Agamic worship is based on Tantra.
Locachara came to be used in connection with locality, situations and authority,
combining both Nigamic and Agamic ways.

The Vaikhanasa Agama was first introduced in the Jagannath culture. It

recommended Satkalpuja that is the worship of divinity for six times a day. This
form of worship is adopted to achieve material benefits. In the Grand Temple of Lord
Jagannath the method of worship has undergone through various refinements and
modifications through the ages as mentioned earlier. It is significant to note that the
influence of tantra on the procedure of puja rituals in the Grand Temple seems
vivid. The Tantric philosophy identifies the eternal Brahman with Sabda (sound)
and the worldly manifestations are illusory modifications (Vivarta ) from the sound.
The combined force of Parameswara (the supreme spirit) and Sakti (energy) results
Nada (sound). Nada procreates Pranabindu (The divine drop) which begets
Rudra, Brahma and Vishnu as well as becomes the source of worldly
phenomenon. Human being at the centre of all cognitive enterprises, all spiritual
activities, instead of ending in grandeur quest, should subserve grandeur purpose
of answering questions about life and death, destroy and destination, nature and
source of his „self‟. Simultaneously, he should prepare himself for the realization of
the Ultimate Truth.

The Ultimate Truth, which is acknowledged as the supreme reality, according

to Vedic philosophy, is Brahma. He is the embodiment of sat-cit-anandam (Existence
Consciousness-Bliss). “Man's parama purusartha (the ultimate desire) is the
realization of that Reality as his own self ”(Das, M. 96). We know that Self is a
unique substance with the characteristics of Consciousness. When the Self is
separated from its attributes, mokshya (liberation) results. Here is the cessation of

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pain and suffring. It can only be achieved by a conscious effort which is known
as Sadhana (cultivation of Individual Soul).

The ritualistic practices practiced in the Grand Temple have two major
aspects. On the surface is seems to be a celebration including multi-ritual activities,
performed by servitors. But its underlying significance encourages humanity to
have a quest for Ultimate Truth, with the realization of Self through purification
of physical entity and solemn entreaty. While performing the puja ritual, the
worshipper prepares his body divinely in the process of „Bhutasuddhi‟(developed
in the shadow of Samkhya Philosophy) which is one of the metaphysical approaches
to establish the Ultimate Truth. As the western philosophy has been widely
accepted for its disciplines like Logic, Psychology, Ethics, Aesthetics, Epistemology
and Ontology, in Indian peninsula there are the Samkhya of Kapila, the Yoga of
Patanjali, the Nyaya of Gautama, the Vaisesika of Kanada, the Mimansa of Jaimine
and the Vedanta of Sankaracharya and Ramanuja. These are known as six branches of
Indian philosophy laying stress on both the nature of Truth and the practical
method of realizing the Truth, They are never conceived as theoretical exercise for the
sake of conceptual clarity only. Rather all the systems of Indian philosophy has a
practical aim to acquire it. However the Samkhya Philosophy is based on the
theory of dualism that is the Purusa and the Prakriti. It might be explained as a way
of knowledge to make human life happy by putting an end to pain and suffering.

The Purusa (supreme soul) in the Samkhya theology is the essence. He is the
fundamental of all the worldly creations. He manifests himself with multiformity
including limitless range of known and not yet known aspects. As an Antaryami or
inner dweller, Purusa is directly related to the human soul, whose final
destination can not be any other than He. The Prakriti is the source. It is the
cause of everything; but not caused by anything. All the earthly phenomenon are
nothing but the association the Purusa and Prakriti together with the reflections of
twenty five Tatvas (concepts). They are the Purusa (consciousness), Prakriti
(nature) the mahat (intellect), the ahamkara (ego), five tanmatras (experiences),
five Bhutas (elements), five jnanendriyas (organs of perception), five karmendriyas
(organs of action) and mana (mind). When a devotee (sadhak) acknowledges the
tatvas, the erroneous cognition regarding the material world and physical attachment
vanishes. Simultaneously, with the removal of erroneous (cognition, the other links

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like dosa (defect in the form of desire and aversion), pravriti (action), janma
(birth) and duhkha (suffering) get washed away one after another.
According to Samkhya Philosophy, ignorance in the form of non-
discrimination (aviveka) between Purusa and Prakriti is the cause of suffering. The
Tatva- jnana removes the ignorance. Hence, opens a new horizon of liberation,
which is the prime goal of all the schools of philosophy in the world.
Nevertheless, all the systems view that liberation is not a post-mortem state, but one
which can be attained by any individual at any place, provided the requisite
requirements are rendered.
Human being as a self-conscious, self surpassing and spiritual entity is not
dissociated from God, but as one desiring and world–caring individual affected by
mundane things. He is ignorant of his transcendental origin. His physic identified
consciousness is only aware of its six transitory states like birth, existence, growth,
modification, deterioration and extinction. A common Indian mind believes that the
human body is a part of nature which is made to undergo the principles of mortality.
The man dwelling in a perishable body over looks the imperishable soul within it. The
ritual of Bhutasuddhi, celebrated as an inseparable of Jagannath worship, encourages
the mortals to ponder over the differences between the indwelling immortal soul
and its perishable corporal encasement. After the ritualistic exercise, the worshipper
realizes that his individual soul, even though encases in a mortal physic, it is a spark
of ever-existing, ever-existing, ever-blissful Absolute supreme spirit. Subsequently,
this realization promotes the individual soul from the confined condition for spiritual
reincarnation with significant transmigration from I-ness to One-ness with Supreme
Consciousness. When a man achieves the transcendental realization, he transmits
his perceptions, attitude, language, and actions through worship. He cultivates an
instinctive spontaneous goodness.
The theism of Samkhya Philosophy is conceived with concept of Prakriti,
which is the primary source of creation and the prime vitality of the Paramatma (the
supreme spirit). Subsequently, the human body being the production of Prakriti,
becomes a miniature replica of cosmic nature too. Secondly, the Cosmic Spirit
(Paramatma) incarnated himself as „Soul‟ in the casement of human body which is
in Samkhya Philosophy, a perfect reflection of Divinity. It is a paradox to note that
when the soul is identified with body, it begets ego (ahamakara) and becomes
vulnerable to pleasure and pain. The soul temporarily imagines itself to be a body,

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experiences both joy and sorrow, although in fact, it is an image of Paramatma,
the embodiment of peace.
The succeeding rituals of self-purification during the worship of the Divinity
helps the devotee raise himself beyond the reach of the mundane attachments and
to rest his relationship with the Paramatma. Prakriti is replaced by Prana (the vital
breath) though the rituals of Tatvanyasa. The worshipper builds a new divine body
for himself and identifies himself as a part of Divinity as well as the universe created
by the Lord. It opens up the source of highest knowledge as an appurtenance to
supreme Cosmic Consciousness which destroys the consciousness of individuality or
the feeling of disintegration from Lord caused by nescience.
The Vedantic ideology of liberation (mukti) seems obvious in the ritualistic
attempts of the worshipper to merge the Jivatma with Paramatma. In the
process of puja rituals Jivatma is enlivened through meditation. The offering of
various upachars also bear Vedantic influences. All the offerings are symbolic in
their values to denote different elements of nature. These are subordinated to the
glorification of the Lord. At the climax, the worshipper surrenders himself completely
to make the ritual culminant.
In the holy tradition of Jagannathaism throughout the ages there have been
inspired and inspiring rituals of single minded devotion. This devotion is not an inner
withdrawal from the mundane world only, but an expansion of Consciousness in
loving Him who is omnipresent. The spiritualism associated with the rituals of Lord
Jagannath inspires to attain liberation through the offering of the life force in
euphoric mediation, purified love, intuition of self, divine servitorship, that would be
beneficial not only for self but also for the co-dwellers in this world.

3.8 Concluding Remarks

The components of the rituals in the campus of Lord Jagannath (not to speak of the
puja rituals only) owe their origin to the ancient Indian spiritual school of
thoughts. A close review of the components associated with all the rituals of
worship of Lord Jagannath reveals the imagination of its founders who have
invented a pavement to incorporate the height Cosmic Consciousness with appropriate
measures of devotion and dedication, so that it could claim to be as pretentious

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as any other spiritual systems leading to liberation and expanding the impression
of image-worship from the common to the enlightened mortals of the society.
The rituals performed during celebrations like Navakalebara (New Embodiment) and
Rathayrtra (Car Festival) also carry the same praiseworthy purpose.

Works Cited
Das, Maya. "Indian Philosophical Systems: Their Basic unity and Relevence Today",
Indian Philosophical Systems. Kolkata: Ramakrishna Mission
Institute of Culture, 2010.
Panigrahi, K.C. Archaeological Remains at Bhubaneswar. Cuttack: Kitab Mahal,
1981.

Patnaik, H.S. Lord Jagannath ; His temple, Cult and Festivals. New Delhi : Aryan
Books International, 2002.

Saraswati, S.S. A Systematic Course in Ancient Tantric Techniques of Yoga and

Kriya. Kokata: Ramakrisna Mission Institue of Culture, 1981

Vivekananda, Swami. The Complete Works of Swami Vivekananda. Vol.II. Calcutta:

Advaita Ashrama, 1997. p.432.
--- The Complete Works of Swami Vivekananda. Vol.VI. Calcutta: Advaita
Ashrama, 1997. p.124.
---The Complete Works of Swami Vivekananda. Vol.I. Calcutta: Advaita
Ashrama, 1997. p.16.
---The Complete Works of Swami Vivekananda. Vol.I. Calcutta: Advaita
Ashrama, 1997. p.323.

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