BRAHMACHARINI - Navadurga (The Nine Forms of Goddess Durga)

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In her previous birth when she was incarnated as the daughter of Himalaya, then influenced by the instructions of Narada, she practiced terrible penances in order to obtain Lord Siva a her divine consort. Due to her unearthly penances she was termed as Brahmacharini. She spent one thousand years, only on fruits and beet-roots. One hundred years she spent only by eating leafy vegetables. For a sufficient perfiod of time observing complete fast she suffered tormentings of nature like torrential rains and scorching sun and biting cold, under the open sky. After such a difficult routine she lived only on dry Bilva leaves fallen on the ground for three thousand years. She kept her engrossed for twenty-four hours in worshipping Lord Siva. After that she gave up eating even these dry leaves. For several thousand years she went on without any food and water. Because she gave up eating dry Bilva leaves so she was known to be Aparna as one of her epithets.

After the rigorous penance for several thousand years her body became extremely lean and thin. She was reduced to skeleton only. Watching her pitiable condition her mother Mena was very much pained. In order to divert her attention from the rigorous penance she exclaimed-'U' 'Ma' meaning 'O' No, no, not'. Since then Goddess Brahmacharini was named Uma. This happened in her previous incarnation itself.

Her penance, sharpened as it was, caused great disturbance in all the three worlds. The whole universe was shaken. The gods, the Rsis, the Siddhas, the Munis all eulosized her penance as an unprecedented virtuous action. Ultimately Pitamaha Brahma through an oracle addressed her and said to her in a very pleasant manner-O Goddess, so far nobody has ever practiced such an austere penance. Only you could have done it. This wonderful deed is being praised in all the four quarters. Your desire would be fulfilled. You will decidedly get Lord Siva as your divine consort. Now stop penancing and go home. Your father would be shortly coming to take you back.

This second aspect of Brahmacharini Durga is capable of providing unending benefit. By worshipping her the person inculcates penancing, renouncing, dispassion, ethical conduct and restraint in himself. Even in the most critical periods of struggle the mind remains unshaken and he does not deviate from the path of duty. By the grace of mother Brahmacharini he gets success and victory always and everywhere. On the second day of Durgapuja it is the Brahmacharini aspect of mother Goddess Durga that is worshipped. This way the mind of the striver moving upward is established in Swadhisthana Cakra. The Yogi, who makes his mind stay in this Cakra gets the devotion and blessings of the Goddess.

Mastering the Ancient Technique: Exploring the Meticulous Creation of Pattachitra Paintings

The traditional Pattachitra is a scroll painting that is done on cloth. This is revealed in the name; Pattachitra is a Sanskrit term made from two words i.e. Patta meaning cloth and Chitra meaning picture. The main subject of this painting is portraying Hindu mythological narratives, scenes from religious texts, and folktales. Pattachitra paintings are especially practiced in eastern Indian states such as West Bengal and Odisha, and also in some parts of Bangladesh. This art form is closely related to Shri Jagannath and the tradition of the Vaishnava sect. It is believed that Pattachitra art originated in the 11th century and the people of Odisha practice it even today without any discrepancy. Bengalis use these scroll paintings for ritual purposes (as a visual device) during the performance of a song or Aarti.

Pattachitra paintings are characterized by creative and traditional motifs/designs, decorative borders, and bright colorful applications. The outline of the figure and motifs are bold and sharp. Some common shapes and motifs seen in these paintings are trees, flowers, leaves, elephants, and other creatures. The artists of Odisha and Bengal still use the traditional method of painting which gives a unique look to it altogether.

1. Canvas is prepared

The process of painting a Pattachitra begins by preparing the canvas (patta). Generally, cotton cloth is used for making the canvas. The local artists dip the cotton cloth in a mixture of tamarind seeds and water for a few days. The cloth is then taken out and dried in the sun. Now natural gum is applied over it to stick another layer of cotton cloth on it. Thus a thick layer of cotton cloth is formed. This layered cotton is sun-dried and a paste of chalk powder, tamarind, and gum is applied on both sides. The surface of the cloth is then rubbed with two different stones for smoothening and it is again dried. This process gives the cloth a leathery finish and it is now ready to be painted.

2. Natural colors are made using traditional method

The painters prepare and use vegetable and mineral colors for application in the painting. White color is made from conch shells, black is made by burning coconut shells, Hingula is used for red color, Ramaraja for blue, and Haritala for yellow.

3. Colors are filled in

The artist now makes a double-lined border on all four sides of the canvas. The local artists are so expert in painting that they do not draw figures and motifs with pencil but directly draw them with a brush. The paint brushes that the painters use are made of the hair of domestic animals, a bunch of which is tied to the end of a bamboo stick. The figures are now painted with natural colors using the indigenous brushes. The outline is thickened with black color.

4. Painting is given a finishing

Finally, the painting is varnished/glazed to protect it from any damage and to get a glossy shine on the surface.

The making of a Pattachitra is laborious work and therefore, one painting may sometimes take over a month to complete. Due to their classical look, these paintings are admired by people from all over the world. The artistic skills used in Pattachitra are passed down from one generation to another and thus are preserved to date.