Nau Baja - The Traditional Newari Musical Instruments.

Newari Traditional Music

The traditional Newar music have been arranged into a particular schedule. One of the dominant forms of traditional Newar music is 'Dapha'. Dapha music is a classical newar music that probably originated during late 'Lichhavi Period' and flourished in the 'Malla period'. Basically, the songs of Dapha music are devotional songs based on classical ragas. Dapha music is played by bands known as 'Dapha Khalah' that may be associated with a traditional groups called 'guthi'. According to the ragas certain songs are played at certain season or time of day. The songs generally narrate or depict the mood of the particular season. Besides the seasonal and scheduled ragas, various ragas are played during specific events, such as Deepak raga (played when a monarch passes away).

Seasons, their festivals and music accompanying them are as follows:

Season	Festival	Song	Comments
Grishma (Summer)	Sithinakha to Gathāmuga Chare	Sinjyā	Played during plantation
Barshā (Monsoon)	Gathāmuga Chare to Yanlā Punhi	Tukājyā,Silu mye	Sad songs,while moving to Gosainkunda
Sharad (Autumn)	Dashian (Mohanee)	Malshree	Incorporated into mainstream Nepalese music as the music of Dashain
Hemant (Winter)
Shishir	Fagu purnima/Holi	Holi mye	Played during Fagu purnima
Basanta	Shree panchami to Buddha Jayanti	Basanta	Played to Head of state of Nepal in Nasalchowk on Vasant Panchami

1.2 Nau Baja:

Nau Baja stands for Dha, Kot, Pachima, Dhancha, Dhime, Dholak, Kokhing, Nyakhing and Nagara in total nine combined musical instruments (skin made related) played in the special occasions and fesvitals is one of the unique and important traditional music of Newari community of Bhaktapur. It is a living legend of Newari culture. Though Nau Baja is a combination of nine major musical instruments as mentioned above other helping musical instruments like Muhali, Ponga, Bayecha, Sichha, Bhuchhya, and Ta are used to add melody in the music. This is why Nau Baja can be categorized into three parts according the musical instruments used. 

·  Tha Baja : Nine major instruments; Dhhan, Kot, Pachhima, Dhhancha, Dhime, Dholak, Kokhhincha, Nayakhhincha and Nagara.

·         Dhatu Baja: Supporting instruments; Dhuchha, Sichha, Khwolimalicha and Ta.

·         Fwu Baja: Instruments played by the blow of air; Ponga, Muhali and Bayecha.

Amongst these musical instruments some to the typical newari musical instruments can be introduced as follows:

a)    Pachima :

Pachima is known as Khing in Newari language. The appearance of Pachima is similar to the shape of Khhen (egg), so it is named as Khing. The average size of Pachima is 24 inches long, 12 inches wide at the middle and at the end of one side it is 8 inches while other side is 9.5 inches. Both the ends of the instrument is covered with the skin of animals in which Khau (a black spot) to give melodious sound is filled partly. The larger side of the instrument is named as Manka and smaller one as Nas.

b)    Dhime :

It is a very special musical instrument played in Newari culture. The presence of Dhime in any events of place determines the presence of Newari culture there. Though there are Dhime of different sizes they are of same shape and appearance. It is made of hollow wooden frame of metal whose both ends are shield with skins. One side is played by necked hand and the other one is with a stick. The side which is played with nacked hand is very thinly coated with masala.

c)  Nya Khinn :

      

     It is one of the ning Tha Bajas of Nau Baja which is similar to the small size Dha. The side which is shield with skin is not coated with any kind of masalas in this instrument. It is played in special period of every festivals and Jatras. The newars of Kathmandu plays this instrument while taking dead body of any person to the Ghat.

d) Kot :

Kot is one of the major typical musical instrument of Badhya cast of Newars which is a combination of three Tha Bajas. Kot is played along with Pona and has a special importance. Specially it is played on Shrawan Gulamas, Chiva puja and other major pujas in the Buddish monasterys. Though it is one of the major musical instrument of Buddhis it is also given a special place in Nau Baja which shows the presence of multi religious aspects in Newari culture.

e) Pona :

  It is a kind of musical instrument played by blowing the air. It is also a unique musical instrument of Newari traditional music which is only used by Newari communities. About 1 meter long this instrument is played in Dafa Bhajan, Gula Baja, Kot etc. It is played specially at the time of starting some good deeds or programs.  Besids Newars other class of people in Nepal also plays a similar musical instrument as Pona but their melody, musical composion and way of blowing the air is very different than this.

It is believed that there are about 200 (two hundred) types of original musical instruments in Nepal, and 108(one hundred eight types) of musical instruments have been found till now. A great number of Newar musical instruments are included init. These instruments can be classified into four classes according to Sangeet Shastra.

i)        Membranophones - Dhimay, Dhah, Paschima, NayaKhin etc.

ii)       Idiophones - Bhusyah, Chhusyah, TainNain etc.

iii)     Chordophones-Piwancha

iv)     Aerophones - Muhali, Nekoo, Bansuri etc.

Mostly used musical instruments in Newar societies are membranophones, which are generally accompanied with idiophones and aerophones.

 i) Membranophones

Dhima

Dhimay is the most common musical instruments amongst the Newars. It is considered as the oldest musical instruments amongst the membranophones. Even though there is no evidence that Mahadeva invented this instruments (as legend says) but there is evidence to support that it dates back to Kirat period. It resembles the Chyabrung of Kirat Rais and Dhola of Tharus. Dhimay is played in almost al ceremonial marches by the Jyapus. They are fund lost in dancing with deep rumble of Dhimay in festivals.

Dhah

Gunla (a month according to Nepal Era) is taken as Buddhist holy month. As Dhah is played during Gunla it is also termed as 'Gunla Bajan'.It looks similar to Dhimay but is Slightly smaller than Dhimay. Dhah is constructed from cylindrical hollowed tree trunk slightly smaller than that of Dhimay. Tuning paste is stuck at the inner side of Mankah. Tuning paste is made of castor seeds, mustard oils etc

Paschima

Myth says, Paschima was invented by lord Krishna. This instrument is also known as Mridanga. It is a double headed drum with tuning paste in on hide (Nasah) and dough made of wheat flour is plastered in the other hide (Mankah) before playing.Paschima is accompanied with Baboocha (thinner cymbals), Tah (thicker cymbal), Muhali (shwam) or Bansuri (flute).

Nayakhin

It is another musical instrument used in many rituals. This instruments is mainly played by the Khadgis, however, this instrument is also played by other castes. It is also called as 'NayaKhin' or 'Dyah Khin'. Since it is also played in funeral processions it is also known as 'Seeh Bajan' (funeral drum). Long long ago, there was a tradition to play fanfare on NayaKhin to proclaim the news.

DapaKhin

DapaKhin has various names: Yakah Khin, Joh khin, Lala Khin, Deshi Khin, for instance. It is double headed drum with tuning paste in both hides. Dapa Khin is mainly played in Dapa Bhajans (traditional hymns). If a single Khin is played it is called Yakah Khin and if two Khins are played, they are called as 'Joh Khin'. DapaKhin is accompanied with Tah, Baboo and Bansuri (flute) or Muhali (Shwam).

Koncha Khin

Koncha Khin is single headed drum resembling Tabla. It is also termed as 'Khicha Khwah Khin' as it is said that dogs start to cry when Koncha Khin is played.

Koncha Khin is mainly played in marriage processions and accompanied with baboo, Tah and Baya or Muhali.

Pastah Khin

Also known as Kwatah Khin, Pasta Khin is a combination of Dapha Khin and NayaKhin. An ancient stone image of people playing Pastah Khin signifies its use since ancient time.

Pastah Khin is an important instrument in Bajrayan sect of Buddhism. Pastah Khin is accompanied with Ponga and Tah.

Nagara

Nagara is a kettle drum played with two sticks. This instrument has been described in purans as Dundubhi, Dundhu, Dundhub, Bheri, Adamber etc. It is often played in pair, known as Joh Nagara. Nagara is also played in Panchai Baja as Damaha. It is too played in Mahakali Dance.It is accompanied with Chhusyah and Muhali.

Dholak

Dholak resembles Dhah in structure and its playing techniques are similar to that of Paschima. Dholak is played in Dhalcha Bhajans and also accompanies Bansuri.

KantanDabDab

Also known as Damaru, it is a small two headed drum with straps. It is the instrument played by lord Shiva. KantanDabDab is especially played during Mohani Festival.

Magah Khin

This two headed drum with tuning paste at both ends belongs to magar community, however it has become an important part in Newar folk music. It is said that there are fifty four talas of Magah Khin. It is commonly known as Madal.

Daha

Daha or a tambourine is a percussion instrument played in Bansuri Bajan or Khin Bajan. It is also used whilst singing songs and in Bhajans.

Dhangro

Though it is not a Newar instrument it has become an integral part in many rituals. Dhyangro is basically played by Jhankris (Witch Doctors) or Kirats.

ii)Idiophones

Tah

The word 'Tah' comes from ' Tala ' which is derived from 'Tandava' and 'Lasya'. Tah controls Tandava and Lasya of Music. It controls whole rythm of music. Tah is considered as the principle musical instruments among all Newar musical instruments. Tah, apair os thicker cymbal, is made of Asta Dhatu (an alloy of eight holy metals). It accompanies Dhah, Dapha Khin, Paschima, Koncha Khin, Naya Khin (when played as Gunla Bajab) and others.

Baboocha

It is thinner than Tah; however, it is bigger in size. It is also made of Asta Dhatu. It accompanies Dapha Khin, Pachima, Koncha Khin, Dholak and others.

Chhusyah

Also known as Sichhya, Chhusyah resembles Baboocha but is bigger in size. It accompanies Naya Khin, Nagara and others.

TainNain

TainNain is a gong; it is played by striking with a stick. It accompanies Dhimay.

TiniMuni

It is a percussion instrument consisting of a steel rod bent in the shape rod a triangle. It is played by striking with another steel rod. It is played in Dhalcha Bhajans.

Gan

Gan or a bell plays a vital role in ceremonial worships such as Shradh, Janko, Ihi and so on. There are various types of bells in practice: Big, Small, Wind bell, Bajra Ghanta, for instance.

iii)Chordophones

Piwancha

Piwancha is two or three stringed instrument. It is especially played by jyapu (Newar farmer). Unfortunately, it has been extinct.

iv)Aerophones

Muhali

Muhali is a conical bore shawm, which is played only by Jugi (Kusle) caste.

Jugis are given Khanki (land) for playing Muhali in various occasions. There is a tradition to play Muhali everyday in Phalchas, i.e. roofed rest places, which tradition is also known as Siwa Yayegu. Muhali accompanies Dhah, Dapha Khin, Paschima, Nagara and others. Muhali solo is played in Digu Puja.

Bansuri (Flute)

Bansuri is a woodwind instrument which accompanies mainly Paschima, Dapha Khin or Koncha Khin. Basuri are of three kinds: Ghor, Majhawala and Teep, producing low, middle and high tones.

Baya

Baya resembles Bansuri but they are different in construction and playing techniques. Baya accompanies mainly Koncha Khin. Koncha Khin and Baya are played in marriage procession.

Ponga

Also known as Payantah, Ponga is a long wind instrument made of brass. Pongas are made by Tamoh or Tamrakar (Newar Coppersmith). It accompanies Kwatah Khin and it is also played in Bhailah Pyakhan (Bhairab Dance).

Kaha

Kaha resembles Ponga. It is also known as Indra Baja and it is believed to be invented at the time of Manju Shree. It is played with Naya Khin In many festivals nd also playd in funeral processions. There is a typical caste, called Kabuja, who play Kaha.

Nekoo

Nekoo or horn instrument is the oldest form of musical instruments in the globe. It is played during Gunla month. There are various types of Nekoo, Chatti Nekoo, Thika Nekoo, for instance.

Sankha

Sankha or konch is an ancient instrument. Playing of Sankha indicates starting of any new work. Sankha is played in 'MahGhah Wonegu' in dec-jan month. It is also played in different worships.

Musical Composition and combination of Nau Baja :   

 As mentioned earlier though Nau Baja is a combination of Nine different Tha Bajas it also uses other sub bajas (Dhatu Baja) to give unique melody and composition. This doesn’t mean that those sub bajas are played through out the time of playing Nau Baja they are used with specific Tha baja in specific notes to balance composition as :

·         While playing Dha or Kot – along with Pona Sichha and Bhuchha is also played.

·         While playing Dhacha – Muhali and Sichha is played.

·         While playing Dhime – Muhali, Sichha and Pona at the end is played.

·         While playing Nya Khing – Muhali, Pona and Sichha is played.

·         While playing Pachima, Dholak and Nagara – Muhali and Sichha is played.

·         While Playing KoKhhing – Byachha and Sichha is played.

Whereas Ta is played compulsorily and Khwolimali is also played as per the requirements.

1.2.2 Major  Notes of Nau Baja :

SN	Instruments	Notes
1	Dha	Taa Taa Taa Dhe Taa Taa Dhe Na Dhe
2	Kot	Taa Kha Ti Taa Khati Taa Dhen Na Dhen
3	Dhancha	Taka Dhu Na Kha Tha Taa Ka Dhuna Khati Taa
4	Dhime	Dha Drukh Taka Dha  Drukh Taka Dha Dha
5	Nya Khing	Dan Pa Dan Pa Daa Pa Da Na Pa Daa
6	Dhalak	Dha Drukh Tha – 3 Ta Drukh Taa Ka
7	Pachima	Ta Ti Dha Taa Ti Dha Dha
8	Kokhhing	Ta Kha Ta Ti Ta Kha Ta Ti
9	Nagara	Taa Dhe Naa, Dhena Dhena Taa Dhena Dhena Dhena

 Musical Forms Played in Nau Baja :

The various forms of musical compositions played in different Jatras and time are very similar with the climate and theme of the those Jatras. For example in Jatras like Pasa Charye and Bisket Nau Baja is played in Ghatu rhythm, and the Holi rhythm is played during Falgun Month. As these all the rhythm and forms of musical composition of Nau Baja is different in all seasons and Jatras/ Festivals of Newar Community. Some of the formations are as follows:

·         In Pasa Charye and Bisket Nau Baja is played Ghatu rhythm in the following formation:

‘…….. Thathi Jagu Ras Rang Tol Tawa Ram Han………’

·         At the time of cultivation of Newars in the Kathmandu Valley Sinajya Rhythm is used in following formation:

‘ Gopal Na Pane Mata Thani Sinajya Bane Nhya…..’

·         In the Spring season Basanta music is played with the feel of colors and beauty in the Chalti and Pratal rhythm :

‘ Shyam Sundar Basanta Balas Radha Wo Mhytal Banaa Vo..’

To play Nau Baja in fully it generally takes about 1hrs to 1 and half hrs however it can also be played in less time without repeating the instruments. At the beginning of playing Dha Lhayeu (offering to god) and at the end Aarati (lighting) is compulsory. This also shows the religious importance of Nau Baja and its space in Newari Culture.

Panauti Jatra (Jya Punhi) - fest of mate between mighty Unmant Bhairava and Bhadrakali.

 Panauti Jatra also known as Jya punhi locally is the nine-day festival. It starts off on the 10th day of the bright fortnight of Jyestha (May-June) and ends on the 3rd day of the dark fortnight in Ashad (June-July). It is a combination of the palanquin and chariot festivals.

Panauti is at about 30 km southeast of Kathmandu. Panauti is one of the holiest towns. Two holy rivers: one called Roshi another Punyamati flow on both sides of this town. A legend has it that Goddess Parvati became the third river called Padmabati. Thus, the area became the meeting point of the three rivers. Any confluence of three rivers is the holiest place for Hindus. Once every 12 years, a religious festival is held here.

Devotees carry Goddess Brahmayani and God Indreswore Mahadev on two different portable shrines on shoulder poles to Panauti town to celebrate the festival. They pull God Bhairava and Goddess Bhadrakali on chariots.

During the Panauti Jatra, Lord Mahadev: one of the Hindu Trinity that does not accept blood enjoys celebrating the festival along with other Tantric deities.

On the 10th day of the bright fortnight in the month of Jyestha (May-June), Hindu priests called Achhanju make offerings to the Tantric deities. Then, the concerned temple caretakers bring the deities out of their temples, and set the deities at the open public places. Men, women and children with bronze or wicker basketful of offerings visit all the deities and make offerings to the deities in the morning.

From this day on until the 4th day of the festival, everybody becomes busy with the preparation for celebrating the festival.

On the evening of the 4th day of the festival, a festival called Duin-ca–nya-ya-ke-gu’ is held. It is the show of a team of a priest, a woman and a porter crossing the bridge over Punyamati River to make Tantric offerings to Goddess Brahmayani along with Goddess Bhadrakali on the other side of the river. ‘Duin’ is the only woman member on the team. Other team members are men. This part of the festival is named in honor of the woman team member called ‘duin’.

Curious onlookers patiently watch the three worshippers crossing the river. A legend has it that once the Punyamati River swelled with floodwater, but the team of the worshippers needed to make offerings to Goddesses Brahmayani and Bhadrakali on the other side of the river. So, they called on the serpent God called Basuki for help. Responding to the call of the tantric worshippers, Serpent God Basuki with his spouse came to them. The serpents lay down over the Punyamati River forming a bridge.

The three worshippers moved on the bodies of the serpents to reach the temples of the deities on other side of the river. Obviously, the bodies of the serpents are very slippery. Each team member in turn moved forward inch by inch on the slippery bodies of the serpents.

Every year, the worshippers simply emulate the worshippers once crossing the river on the bodies of two serpents. It is a great show to the onlookers. Currently, they watch the crossing of the river by the team of worshippers on a suspension bridge moving inch by inch.

The priest is the first one to cross the river. He makes offerings to the serpent deities. Then, he moves so carefully that everybody watches his motion in complete silence. He takes more than a half hour to cross the bridge of about 20 meters long. Similarly, a porter carrying a load of offerings to the deities on other side of the river moves on the bridge inch by inch. Finally, the woman called ‘duin’ carrying an oil lamp and a load of rice grains carefully steps on the bridge and moves on inch by inch. After her crossing the river, the festival of Duin-chha–nya-ye-ke-gu ends.

Thereafter, the team of worshippers prepares everything for holding Tantric worship called ‘ca-puja’ performed at night to the deities at the temple to Goddess Brahmayani across the river.

In the town, devotees have brought Goddess Bhadrakali out of the temple and set Her on a chariot parked nearby the temple. They pull Her on the chariot to the temple to Goddess Brahmayani. Devotees pull it through the narrow lanes of Panauti to the bridge over the Punyamati River. From there, two persons carry Goddess Bhadrakali on their arms across the river to the temple to Goddess Brahmayani and set Her next to Goddess Brahmayani. Thereafter, the team of worshippers enters the temple and seals off the entrance to the temple to hold Tantric offerings to the deities until the next morning.

On the 5th day, the people celebrate ‘mu-jatra’ means the main festival. On this day, some devotees make the sacrifices of male goats or ducks to Goddesses Brahmayani and Bhadrakali. Others simply make offerings to the deities. People also revere other deities, too. Although this day is known as ‘mu-jatra’ no activities other than pulling a chariot from the bank of Punyamati River to the bank of Roshamati River near Gainepati are held. It was done in preparation for holding the festival of pulling the chariot and carrying the palanquin the next day.

The sixth day is the full moon day. This day is also known as Panauti Punhi. This day is the most auspicious day for taking a dip in the water of the confluence of the Punyamati River and Roshamati River. So, this day is also known as Panauti-snan means bathing in Panauti. Believers take a holy dip in the water of the confluence of two rivers on this day to cure any disease.

On the early morning of the full moon day, the major Jatra starts off. First, devotees take Goddess Brahmayani out of the temple and set Her on a portable shrine. Then, they carry the deity on the portable shrine on the shoulder poles along the bank of Roshamati River then through the Sorakhutay to the main Bazaar and to the main square. God Indreswore Mahadev takes a ride on another portable shrine from the temple to the main square following the same route as that of Goddess Brahmayani.

It is fun to watch God Indreswore Mahadev riding on the portable shrine. The shrine carriers try every trick to make the fall of the priest from the God Indreswore Mahadev’s shrine on the way to the main square. The priest would need to pay one tola (11.664 gm) of gold to the shrine carriers if he were to fall from the shrine. However, the carriers rarely succeed in making the priest fall from the shrine. The priest plays a hand drum with one hand and holds the shrine firmly with the other hand. He sticks to the shrine so firmly, no matter how wildly the carriers shake it he won’t fall down.

Devotees carry Goddess Bhadrakali from the temple to Goddess Brahmayani to the Gainepati. The deity had spent the whole night with Goddess Brahmayani. A chariot had been waiting for Her. The devotees set Goddess Bhadrakali on it. Then, they pull the deity on the chariot through the same route Goddess Brahmayani has traveled on her portable shrine.

Goddess Bhadrakali makes a loop at one lane symbolizing her attempt to trick God Unmant Bhairava into not following Her. However, God Unmant Bhairava manages to catch Her at the open space popularly known as police pati at the eastern end of the main square. At this place, God Bhairava’s chariot collides with that of Goddess Bhadrakali from the rear. Then, it retracts. Then, Goddess Bhadrakali’s chariot makes a head-on collision with that of God Unmant Bhairava. It is the divine sexual play. This action is repeated three times. Each time, the chariots collide; devotees throw vermillion at each other expressing their joy at the happy union of the divine couple.

Then, the turn of God Indreswore Mahadev is to make head-on collision with Goddess Bhadrakali. Devotees carry God Indreswore Mahadev on a palanquin back and forth a number of times before it finally collide with the chariot carrying Goddess Bhadrakali. Then, the priest distributes ‘prasad’ means a blessed food or simply a blessed piece of flower or a blessed paste of vermillion or all these blessed items together to devotees. After that the palanquin makes the last collision with the chariot before it is finally pulled off. This is the symbol of God Indreswore Mahadev copulating with Goddess Bhadrakali. When the palanquin and the chariot collide, the chariot of God Unmant Bhairava remains in contact with that of Goddess Bhadrakali. God Unmant Bhairava is believed to be the tantric incarnation of God Indreswore Mahadev.

Goddess Brahmayani presides over all these unique and exciting festivities.

After the meeting of God Unmant Bhairav, Goddess Bhadrakali and God Indreswore Mahadev at the main square, God Indreswore Mahadev travels on the arms of devtoees from the palanquin to the temple. God Unmant Bhairava and Goddess Bhadrakali travel to the eastern end of the town on their respective chariot. From there God Unmant Bhairava travels to the temple. Goddess Bhadrakali returns back to her abode at the city entrance. All these activities complete by mid-day.

At night, devotees carry the portable shrine of the presiding Goddess Brahmayani on shoulder poles from the main square to her abode near Sorakhutay pati. Every household sends a person to carry a torch to light her way to the temple. A number of traditional musical bands and a procession of devotees follow Goddess Brahmayani to her abode.

On the 8th day of the festival means the second day of the dark fortnight of Ashad, devotees hold the last goodbye offerings called ‘Dyo sagan bi-ye-gu’ to all deities. They go to make offerings to the deities brought out from the respective temple and placed at different public places for the festival.

On the 9th day of the festival, all the deities return to their respective shrine. On this day, too, some men, women and children make offerings to all the deities before they return back to their respective temple. They had come out of their shrines on the first day of the festival. Thus ends the nine-day and eight-night festival in Panauti.

पनौती जात्रा
तीन दिनसम्म चल्ले पनौती जात्रामा रथ रथ विच संभोग गरायर स्थानीहरुले जात्रा मनाएका छन् ।

जेठपूर्णिमाका दुई दिन अघिदेखि स्थानीहरुले विभिन्न नायखिं बाजा बजाउने र मठ मन्दिरको पुजा प्रथना गरि जेठ पुर्णीमाको दिन रथालाई संभोग गराएर जात्रा मनाएका हुन ।

पनौती स्थित लायकु दरबार, डबलीमा इन्द्रेश्वर महादेव, भद्रकाली र उन्मत्त भैरवका रथहरू एक–आपसमा संभोग अर्थात जुधायर जात्रा मनाउने गेका छन्।

इन्द्रेश्वर चोक (हाता) नजिकै रहेका तीनवटा रथहरू (महादेव, भैरव, भद्रकाली) बाजागाजासहित रोसीखोलाको किनार परिक्रमा गराईन्छ रथ जुधाउने प्रचलन रहेको छ ।

चतुर्दशीका दिन बिहानैदेखि ब्र≈मायणीको मन्दिरमा भीड लाग्नुका साथै पुर्णेको दिन काठमाडौ, भक्तपुर, ललितपुर, काभ्रेका विभिन्न स्थानबाट मेला हेर्न हजारौ दर्शनार्थी आउने गरिन छ   ।

महादेव, भैरव, भद्रकालीको रथ जुधाउदा पानी पर्ने किबदन्ती रहेको र जात्रा हेर्न आएका मानिसहरूलाई छाता ओढ्न नहुने, रथमा रहेका देवीदेवताहरूको प्रसाद पनि बाड्ने नहुने लगाएतको अनौठो प्रचलन रहेको छ ।

महादेवको रथ भद्रकालींसग जुधाइसकेपछि रथ बोक्ने मानिसहरूले रथलाई माथिसम्म उचालेर भुइमा बजार्ने प्रचलन रहेको छ । स्थानीय बासिन्दाको भनाइअनुसार यसरी महादेवको रथ भुईमा बजार्दा रथमा सवार पुजारी रथबाट तल भुईमा झ¥यो भने बोक्नेहरूलाई इन्द्रेश्वरमन्दिरको ढुकुटीमा रहेको धन बाडिदिनुपर्ने प्रचलन रहीआएको   छ ।

पनौती जात्रा प्रत्यक्ष यौनक्रियासँग सम्बन्धित जात्रा भएकाले यो जात्रा महिला तथा बालबालिकाहरूलाई नदेखाउने विचारले राति नै सम्पन्न गर्ने गरिन छ  ।

महादेवले उन्मत्तभैरवको रूप धारण गरी बाहिर निस्केको र भैरवको डरलाग्दो उन्मत्त रूप देखेर डराएकी ६४ योगिनीरूपी पार्वती भद्रकालीको रूप बदलेर रोसीखोलाको किनारैकिनार भाग्न थालेपछि भाग्दाभाग्दै लायकु डबली पुगेपछि उन्मत्तभैरवले भद्रकालीलाई पछाडिबाट तीनपल्ट सम्भोग गरेपछि भद्रकाली शान्त अवस्थामा आएको किम्वदन्ती रहेको छ ।

आफू यौनक्रियाबाट तृप्त भएपछि भद्रकालीले भैरवलाई आफ्नो वास्तविक स्वरूपमा आई सम्भोग गर्ने इच्छा जाहेर गरिन् । त्यसपछि भैरव महादेवको वास्तविक स्वरूपमा आई पुनः तीनपटक अगाडिबाट सम्भोग गरेकाले रथलाई अगाडी र पछाडीबाट जुधाएर सँभोग गर्ने गरेको स्थानीहरुको भनाई छ ।
 दिउँसो रथ जुधाउने जात्रा सकिएपछि बेलुका ब्रह्मायणीको जात्रा गरिन्छ । ब्रह्मायणीको देवघरबाट बाजागाजासहित नगरवासीहरू हातमा चिराक बालेर पुलिसपाटीमा राखिएकी ब्रह्मायणीलाई लशकुश गरि ब्रह्मायणीलाई रथमा राखी जात्रा गरेर बजारमा परिक्रमा गराई ब्रमायणीदेवीको देवघरमा पुर्याइन्छ ।
सोही दिनको बेलुका अघिल्लो दिन इन्द्रेश्वरप्राङ्गणमा बलि दिइएको रागाको मासुको परिकार बनाई वलं भ्वय’ खाइ र जात्रा सकिने  गरेको छ ।

BISHKA JATRA - NEPALESE NEW YEAR FEST.

Origin and Evolution of ‪Bishka Jatra.

The exact date of the origin of this festival is not known yet, however, this festival must have developed along with the expansion of Tantrism in Nepal during the period of Licchavi region (400 A.D. – 800 A.D.) because most of the rituals performed to God Bhairava and Goddess Bhadrakali, and ‘Yao-sin dyo’ (symbolic union of Bhairava and Bhadrakali) are closely related to Tantra. In addition, this festival evolved during the period of more than five hundred years when Malla Kings ruled Nepal from the beginning of the 13th century to the mid-18th century.

Originally, Bhaktapurians celebrated ‘Bishka’ festival for two days only. The first day, they pulled ‘Yao sin dyo’ pole up, and they pulled it down the next day after 24 hours of the public display of ‘Yao sin dyo’. Only Goddess Bhadrakali enjoyed the outings on a chariot pulled through the streets

King Visva Malla (1570 A.D. - 1575 A.D.) added the chariot festival of God Bhairava to this ‘Bishka’ festival. Concerning the chariot festival of God Bhairava added to the ‘Bishka’ festival, a legend has it that Kasi Visvanath, another name of Lord Shiva, once, visited Nepal to watch the ‘Bishka’ festival. Goddess Bhadrakali came to know about the visit of the omnipotent deity in a human form to watch the festival. So, Goddess Bhadrakali with the view to hold the omnipotent god in Nepal forever, informed Tantric Priest Muni Achaju in his dream that he should hold the supreme god by his Tantric power, and keep him in Nepal for the benefit of the people in general; the goddess also informed the Tantric priest that the god in a human form would be taller by a head among all the viewers.The next day, with his transcendental vision, the Tantric guru Muni Achaju spotted the god at the place currently called Inacho tole. He immediately spread a Tantric net to capture the extraordinary uninvited guest. The supreme god sensing the Tantric net spread over him, attempted to disappear submerging in the ground. By the time, he arrived at the current day ‘Aisamadi’ corner only his head was above the ground. The Tantric priest in view of losing a chance to capture the god seized the head by his Tantra. Today, this place is known as ‘Sotunga’ means a self-submerging spot. Here, Taleju Bhavani and Nine-Goddess Durga come to pay annual homage to ‘Sotunga Bhairava’, which is also today known as Akasa Bhairava. Thereafter, the Tantric priest ceremonially enshrined him at ‘Taumadhi’. After installing the Kasi Visvanath in the name of God Bhairava in Nepal, then agricultural crops improved every year. There was a time when the size of rice grew to an arm’s length. The very pleased farmers brought the biggest rice grain to Lord Bhairava. The rice is preserved in a copper case, and stored in the room next to Bhairava even today. Currently, this unique rice grain is known as ‘Murji-cup’. Over the ‘Bishka’ festival, caretakers bring it down and place it on a public display for offerings. Since then, the chariot festival of God Bhairava has been part of the ‘Bishka’ festival. King Jaga-jyoti Malla (1586 A.D. – 1613 A.D.) set the tradition of taking God Bhairava and Goddess Bhadrakali to ‘Yao-sin khyo’ to enable them to watch the victory pole called ‘Yao-sin-dyo’ pulled up there; and letting them spend a night over there until the ‘Yao-sin-dyo’ is pulled down the next day.

Celebration:

Nepali New Year, the first day of the Baisakh Month, which usually falls mid-April is celebrated all over Nepal but the celebration at Bhaktapur is special due to its connection with BISHKA Jatra Festival. If you are travelling to Nepal during April, it's worth attending the celebration in Bhaktapur. BISHKA Jatra means the Celebration after the death of serpents. The legend goes that every man who married the Bhaktapur Princess died the night of the honeymoon and so no one dared to marry the Bhaktapur Princess again. Finally, there was a brave prince who vowed to solve the mystery. He married the princess and he stayed awake the night of his honeymoon.  He saw that as the princess fell asleep, two giant serpents crawled out of the two nostrils of the princess. The prince quickly took out his sword and chopped the snake heads off. The next day morning, the two serpents were publicly displayed on a pole. Till today, BISHKA Jatra carries the tradition of displaying the serpents in the form of long ribbons. The festival begins 4 days before the Nepali New Year's Day and lasts a total of 9 days. The festival has 5 major parts; pulling of the chariot temple of Lord Bhairava and Goddess Bhadrakali, erecting the Yeo-sin-deo pole, lowering of the pole,  chariot temple processions of Goddess Mahalaxmi-Mahakali, Brahamayani-Maheswori and Lord Ganesha and the rituals to revere all the Hindu deities attending the festival. The pulling of the chariot temples of Lord Bhairava and Goddess Bhadrakali, the male and female manifestation of Lord Shiva and his consort Parvati respectively, begins 4 days before New Year's Eve Day. Caretaker priests of the respective temples perform pre-outing rituals and receive the state offerings for the deities. After the rituals and worship, the priests carry the images of the deities to their respective chariot temples and hold the images on their arms and be seated in the inner sanctum of the chariot. Another priest holding the sword from Bhaktapur's Palace guards the image. Then the residents of Bhaktapur start pulling off the chariot temples for the nine-day festival trip. The creaking and swaying chariot lumber around town, pausing for a huge tug of war-between the eastern and western sides of town. After the battle, the chariots head to Khalan Tole. Every evening, the chariots are parked in certain areas and the images of the Lord and Goddess are taken to the temporary residences. There will be lots of worship and even animal sacrifices to appease God on the first and the third day. The chariot ride continues on the fourth day to Khalna Tole-the site of erecting of a pole called Yeo-sin deo. It's a huge 80 ft.  lingam (phallic symbol) is erected in the stone yoni (female genital symbol) base. The preparation of erecting the pole begins around the afternoon. Priests perform tantric worship that involves a male buffalo sacrifice. A tree trunk is tied about a few feet below the top end of the pole to form a cross-which actually are the arms of the "Yeo-sin-deo". The pole is decorated with the face mask of Lord Aakash Bhairav and a bunch of twigs and two long ribbons or flags representing two serpents. There will be rituals and worship and with the help of bamboo and ropes, people erect the pole with huge applause and cheers. After the pole stands erect,  the deities are carried and enshrined by the pole for the night. Again there will be a series of worships all night. On the New Year day i.e. on the fifth day of the festival, people take a ritual wash and bath in the waters of Hanumantay River and pay homage to the Yeo-sin-deo and Lord Bhairav and Goddess Bhadrakali. People believe that taking a purification dip in the water of the stream on this day, keeps all the diseases away for that year. Again, there will be rituals and animal sacrifices to the deities. Towards the end of the day, the Yeo-sin-deo pole is pulled down amidst a huge cheering crowd and people run over each other to get a piece of the cotton tied to the pole. After some tantric offerings, the touring deities ride to their temporary residence in the designated places. The chariot tour of the deities continues for four more days and on the last day, the deities are back to their own temples and state swords are returned back to the palaces.

भक्तपुरको प्रसिद्घ ऐतिहासिक एवं सांस्कृतिक महत्व बोकेको लिच्छवीकालीन बिस्का जात्रा 

नयाँ वर्षको आगमनसँगै सुरु हुने तान्त्रिक महत्व बोकेको भक्तपुरको प्रसिद्घ ऐतिहासिक एवं सांस्कृतिक महत्व बोकेको लिच्छवीकालीन बिस्का जात्रा विक्रम संवत्अनुसार सौरमासको आधारमा लिच्छवीकालभन्दा अघिदेखि चलिआएको विश्वप्रसिद्ध बिस्का जात्रा बिस्का अर्थात ‘सर्प मारियो’ भन्ने अर्थमा नेवार समुदायमा मनाइने गरिन्छ -: भक्तपुरकी एक राजकुमारीको नाकका प्वालबाट निस्केका बि (सर्प )हरु मारेको कथा लिच्छविराजा शिवदेव द्वितीयको राज्यकालमा शेखर आचाःजु दम्पती नाग-नागिनी भएको र पछि आत्महत्या गरेको कथा हरिदत्त र पताःमय्जुलाई बलि दिएको र पछि नाग-नागिनी भई प्राण त्यागेको कथा भक्तपुरमा हाहाकार भएको समयमा काशीका विश्वनाथ आई हाहाकारको मूल कारक अजिङ्गरलाई मारेको कथा र एक सूर्यवंशी राजाले छुमा गणेशको आदेशमा नाग-नागिनी मारेको कथालाई आधार मानी कथामा भनिएका बि सर्प÷नाग÷अजिङ्गर मरेपछि तिनीहरुको सम्झनामा चलाएको ‘बि सिइ धुंकाया जात्रा’ सर्प मरेपछिको जात्रा ुसीम्ह बि खाःगुया जात्राु ुबिसिखातु मरेको सर्प झुन्ड्याए सिम्ह बिया जात्रा- बिसियात वा बिसियाः मरेका सर्पहरुको जात्रा ‘बिस्याङ खाया जात्रा बिस्याङ जात्रा’ सर्प मारेको जात्रा बिसिकाःया जात्रा बिसिकाः जात्रा सर्प मरेपछिको जात्रा भनी भन्दै आइरहेको पाइन्छ । ‘बिसिकाः’ को परिवर्तित रुप नै बिस्काः भनिन्छ । चैत मसान्तको दिन ध्वज उत्थान गर्दा सम्पूर्ण दुःख विनाश भई सर्व शत्रु नाश हुन्छन् भनी गौतमी पुराणमा लेखिएको छ । गौतमी पुराणमा ुविश्वजात्रायां ध्वजोत्थानकु भनिएको छ । सूर्य मीन राशिबाट मेष राशिमा जाने अर्थात् विश्वयात्रा हुने दिन उठाउने ध्वज भएकाले उक्त ध्वजलाई विश्वध्वज भन्ने गरेको थाहा पाइन्छ । विश्वजात्रालाई विश्व मल्ल र विश्वनाथसँग पनि जोड्ने गरे पनि ‘विश्व’ शब्द ‘वृष’ बाट आएको भनाइ पनि छ । ‘वृष’ शब्दलाई इन्द्र विष्णु र शिवका रुपमा पनि परिभाषित गरिएको छ । ‘केतु’ को शाब्दिक अर्थ ध्वज वा झन्डा हो । यसर्थ वृषकेतुको अर्थ शिवध्वज विष्णुध्वज वा इन्द्रध्वज हुन आउँछ।यो जात्राका सम्बन्धमा भेटिएको अहिलेसम्मको सबभन्दा पुरानो शिलालेख भक्तपुर टौमधि टोलको भैरव मन्दिरसँगैको धारामाथि रहेको यक्षँ मल्लको शिलापत्र ने।सं। ५६१ मा ‘विश्वजात्रा’ शब्द उल्लेख भएको छ । ने।सं। ७२३ देखि ९३६ सम्मको एक घटनावली हस्तलिखित ग्रन्थ मा पनि ‘विश्वजात्रा’ नै उल्लेख भएको देखिन्छ । ने.सं. ६४१ को थिमिको भूमिसम्बन्धी ताडपत्रमा ‘विसक जात्रा’ लेखिएको छ भने भाषा वंशावलीमा ‘विशकाट’ भनिएको छ । त्यस्तै बोडे महालक्ष्मी मन्दिरअगाडिको ने।सं। ८७७ को शिलापत्रमा ुविसाकाु उल्लेख भएको छ भने ने।सं। ८०४ को नगदेशको जात्रासम्बन्धी जितामित्र मल्लको सूचीपत्र र बोडे भांगु टोलको ने।सं। ९२२ को शिलापत्रमा ुविस्क्यातु उल्लेख छ । ने।सं। ९२५ को थिमि दक्षिणवाराहीको शिलापत्रमा भने ुविस्कातु उत्कीर्ण छ ।समयानुसार नाम परिवर्तन भए पनि बिस्का मूलतः ध्वजको जात्रा हो भन्ने देखाउँछ । बिस्का जात्रामा ध्वज उत्थान गरेपछि वा लिङ्गो ठड्याएपछि मात्र जात्रा सुरु भएको मानिन्छ । बिस्कामा लिङ्गो ठड्याउने चलन भक्तपुरका दुई ठाउँ भेलुखेल र तालाक्व कुम्हाल टोल साँगा श्रीखण्डपुर खड्पु चौकोट सुनाकोठी र टोखामा पनि छ । थिमिमा पनि लिङ्गो ठड्याउने चलन पहिले भए पनि हाल आएर हराइसकेको छ । नगदेशको जात्रामा विश्वध्वज हिलंपताः हातैले बोकी जात्रा गर्ने गरिन्छ भने बोडेमा अहिलेसम्म पनि लिङ्गो ठड्याउने चलन विद्यमान नै छ । धेरैजसो ठाउँमा चैत मसान्तको दिन लिङ्गो ठड्याउने भए पनि लिङ्गो ढाल्ने मितिमा भने एकरुपता छैन ।चैत मसान्तको दिन भक्तपुरको टौमढीबाट नाय्िखं बाजा बजाई शव लगेजस्तै भाजं खतलाई भेलुखेलसम्म पुर् याइएपछि त्यहाँ लिङ्गो ठड्याउने गरिन्छ । भेलुखेलमा नै भैरव भद्रकालीको रथ पुर् याई जात्राको सुरुआत गरिन्छ । यो दिन टोखामा ुद्यः ब्वयेगु अर्थात् देउताको प्रदर्शन हुन्छ र यही दिन थिमिमा बेलुका ुगुूसिू व्छयेकेगु अर्थात् वनको दाउरा बाल्ने गरिन्छ र राति दक्षिणवाराहीमा खत जात्रा हुन्छ । सङ्क्रान्तिको दिन भक्तपुरको भेलुखेलको लिङ्गो ढालिन्छ । यही दिन साँखुमा पनि लिङ्गो ढाल्ने जात्रा हुन्छ । यो दिन थिमिमा सिद्धिकाली र विष्णुवीरको मातृका गणको छुट्टाछुट्टै जात्रा हुन्छ भने धुलिखेलमा पनि नारायण मन्दिरनजिक खत जात्रा हुन्छ । टोखाको मसानकालीमा यो दिन ठूलो होम हुन्छ र यस दिन सबेरैदेखि थिमिको दक्षिण पर्ने गाम्चाको चखंु तीर्थमा मेला लाग्छ र खत जात्रा पनि हुन्छ । वैशाखको २ गते थिमिको बालकुमारीमा सिन्दूरे खत जात्राका साथै नगदेश टिगनी र टोखामा पनि खत जात्रा हुन्छ । बोडेमा जिब्रो छेड्ने जात्रा पनि यही दिन हुन्छ । बोडेमा जिब्रो छेडिसकेपछि ७ खतको जात्रा पनि हुन्छ । टोखामा नाग प्याखं माकः प्याखं आदि नृत्यहरु पनि प्रदर्शन गरिन्छन् जुन क्रम ४ गतेसम्म चल्छ । विभिन्न ठाउँमा विभिन्न खत जात्राहरु हप्तादिनसम्म अनवरत गरिन्छन् ।गोपाल राजवंशावलीअनुसार ने.सं. ४१४ मा युवराज्ञी श्रीबिरमदेवीले इन्द्रकूट बनाइन् । तिनका छोरा श्री जयशक्ति देवले इन्द्रकूट ध्वजारोहण गरे । ने।सं। ४१४ देखि नै भक्तपुरमा ध्वज उठाउने वा लिङ्गो उठाउने गरिएको मानिन्छ । भक्तपुरमा पहिले बिस्का जात्रा भनेर लिङ्गो ठड्याउने वा ध्वज उत्थान गर्ने र ढाल्नेमा मात्रै सीमित थियो ।यही ध्वजबाट बिस्का शब्द आएको कुरा माथि नै वर्णन भइसकेको छ । ध्वज उत्थान गर्ने चलन भक्तपुरबाहेक अन्य ठाउँहरुमा पनि भएको र हालसम्म पनि ती ठाउँका जात्राहरुलाई बिस्का नै भन्दै आइरहेकोबाट भक्तपुरमा पहिले लिङ्गो मात्रको जात्राबाट भैरवको रथयात्रा र अन्य जात्राहरु पनि थपी भूपतीन्द्र मल्लको कार्यकालसम्म आइपुग्दा आठ रात नौ दिनको जात्रा भएजस्तै ती ठाउँहरुमा पनि पहिले ल्योसींको मात्र जात्राबाट बढाएर पछि अरुअरु चलनहरु पनि थप्दै लगेको प्रतीत हुन्छ ।

आठ रात आठ जात्रा, थाहा पाउनुस् बिस्का जात्राका रोचक कुरा -

भक्तपुरको बिस्का जात्रालाई आमजनताले पहिलो दिनको भैरवनाथको रथ तान्ने र चौथो दिनको भेलुखेलस्थित ल्योसींखेलमा ल्योसीं ठड्याउने घटनालाई मात्र सम्झने र बुझ्ने गर्छन्। वास्तवमा बिस्का जात्राको मुख्य आकर्षण नै भैरवनाथको रथ तानातान गर्ने र ल्योसीं ठड्याउने नै हो। तर पनि बिस्का जात्राको नौ दिन आठ रातमा भक्तपुरका ठाउँ ठाउँमा विभिन्न देवी देवताका जात्रा निकालिन्छ। यिनीहरुको छुट्टै महत्व छ। भैरव र भद्रकालीकै सम्मानमा भक्तपुरका टोलटोलमा विभिन्न देवी देवताको जात्रा गरिने।बिस्काको संस्कृतिलाई उचाइमा पुर्‍याउन र मानिसले मात्र नभई
देवी देवताले समेत भैरव र भद्रकालीप्रति सम्मान व्यक्त गरेको देखाउन भक्तपुरका टोल टोलमा रहेका देवी देवताहरुको जात्रा गर्ने प्रचलन सुरु भएको उनको भनाइ छ। 

१. बाराही तिप्वाः जात्रा 

बिस्का जात्राको चौथो दिन अर्थात चैत्र महिनाको मसान्तको दिन अष्टमात्रिकाका शक्तिशाली देवीमध्येका एक बाराहीको बाराही तिप्वाः जात्रा हुन्छ।बिस्काको ल्योसीं उभ्याउने जात्रापछि भक्तपुर नगरपालिका वडा नं १६ स्थित तेखाचो टोलमा रहेको द्यो छेँ (देवघर) मा रहेको बाराहीको मूर्तिलाई खटमा राखी उक्त तिप्वाः जात्रा निकालिन्छ। प्यागोडा शैलीमा निर्मित बाराहीको खटलाई शृंगारपटार गरी बाराहीलाई विराजमान गराइन्छ। यसबेला बाराही द्यो छेँ वंशगोपालदेखि बाराही पीठसम्म हर्षोल्लासका साथ यो जात्रा हुने गर्दछ। यस बेला स–साना बालबालिकादेखि वृद्धवृद्धासमेत चिराग बालेर जात्रामा सहभागी हुने गर्दछन्। जात्रामा हजारौं भक्तालुहरु धूप, बत्ती, सुकुन्दा बालेर जात्रामा सहभागी हुने गर्दछन्। शक्तिकी देवी बाराहीलाई एक रात पीठमै राखी भोलि पल्ट ल्योसीं ढाल्ने र त्यसपछि बाराहीको खटलाई टोल टोलमा लगी पूज्ने र चत्तांमरी लगायत विभिन्न प्रसादहरु चढाउने गरिन्छ।

२. इन्द्रायणी देवीको त्वादेवा जात्रा

बिस्का जात्राका क्रममा निकालिने अष्टमात्रिका शक्तिशाली देवीको जात्रामध्ये इन्द्रायणी देवीको त्वादेवा जात्रा एक हो। यसबेला इन्द्रायणीको खटलाई विभिन्न प्रकारले शृङगार गरेर रथजात्रा निकालिन्छ। सो रथमा इन्द्रायणी देवीको द्यो छेँमा रहेको मूर्तिलाई खटमा विराजमान गराई आफ्नो इलाकामा घुमाइन्छ। इलाकाभित्रका बासिन्दा आ–आफ्नो घरबाट त्वादेवा (देव बत्ती) बालेर जात्रामा सहभागी हुने गर्दछन्। दाफा भजन र बाजाको आवाजले जात्रामा रौनक थपेको हुन्छ। 

३. भैरव र भद्रकाली रथ जुधाउने जात्रा 

बिस्का जात्राको अर्को आकर्षण भैरव र भद्रकालीको रथ जुधाउने जात्रा पनि हो। परापूर्वकालदेखि नै लिङ्गो जात्राको समापन लगत्तै वैशाख १ गते स्थानीय खँला टोलमा भैरव र भद्रकालीको रथ सङ्गम जात्रा हुने गर्दछ। यसलाई भैरव र भद्रकालीको विवाहको रुपमा पनि लिने गरिन्छ।

४. महाकाली र महालक्ष्मीको जात्रा 

बिस्का जात्राको अवसरमा टोलटोलमा हुने जात्राहरुमध्ये अर्को महत्वपूर्ण जात्रा हो – महाकाली र महालक्ष्मीको सङ्गम जात्रा। यो जात्रा वैशाख २ गते भक्तपुरमा धुमधामका साथ मनाइन्छ। जात्राका क्रममा महाकाली द्यो छेँबाट मूर्तिलाई विमान आकारको खटमा राखी भोलाछँेबाट जात्रा सुरु गरिन्छ। अर्कोतर्फ महालक्ष्मीको मूर्तिलाई पनि विमान आकारकै खटमा विराजमान गराई जात्रा निकालिन्छ। यस जात्राको अवसरमा जात्रालुहरुले एकातर्फ पहेँलो टोपी र अर्कोतर्फ रातो टोपी लगाउने परम्परा छ। जात्राका क्रममा मध्यभागमा महाकाली र महालक्ष्मी भेट भएपछि दुवै खटलाई जुधाई सङगम गराउने चलन छ। 

५. श्वेत भैरव ,ब्रम्हायणी र महेश्वरीको जात्रा 

जेला टोलमा अवस्थित श्वेत भैरबको खटका साथै अष्टमात्रिकामध्ये प्रमुख शक्तिशाली देवीका रुपमा पुजिने देवी ब्रम्हायणी र महेश्वरीको जात्रा वैशाख ३ गते मनाइन्छ। सूर्यमढीस्थित द्यो छेँमा रहेको ब्रम्हायणीको मूर्तिलाई खटमा राखी जात्राको प्रारम्भ गरिन्छ। स्थानीय टोलका बालबच्चादेखि वृद्धवृद्धासम्मले चिराग र मुस्याःख्व बत्ती बाली खटको अगाडि लाग्छन्। स्थानीय इनाचो टोलमा रहेका महेश्वरी द्यो छेँको मूर्तिलाई खटमा राखी शृङगारपटारका साथ जात्रा सुरु गरिन्छ। यी दुवै देवीको आ–आफ्नो इलाकामा जात्रा सुरु भएपछि स्थानीय दत्तात्रय चोकको बीच भागमा ल्याई पुर्‍याइन्छ र त्यहीँ खट जुधाइन्छ। यसबेला दुवै खटका प्रसाद र चिराग साटासाट गर्ने प्रचलन छ। 

६. बटुकभैरव र ज्याठा गणेशजात्रा

बिस्का जात्राका अवसरमा अष्टमात्रिका देवदेवीहरुको मात्र जात्रा नभई भैरव र गणेशको समेत जात्रा हुन्छ। स्थानीय बुलुचा टोलको बटुक भैरव र कुम्हाले टोलको ज्याठा गणेशको जात्रा यही बेला निकालिन्छ। जात्राका क्रममा खटलाई शृङगारपटार गरी देवताका मूर्ति विराजमान गराइन्छ र खटलाई आ–आफ्नो टोलमा घुमाउने गरिन्छ। सो अवसरमा बटुक भैरव र ज्याठा गणेशको रथ जहाँ भेट्छ त्यहाँ जुधाउने गरिन्छ।

७. छुमा गणेश जात्रा

बिस्का जात्राको आठौं दिन अर्थात वैशाख ४ गतेका दिन छुमा गणेशको जात्रा गरिन्छ। यसबेला शक्तिका देवता छुमा गणेशको मूर्तिलाई खटमा राखी स्थानीय चोछेँ टोलमा घुमाइन्छ। टोलवासीले जात्राका क्रममा घरघरबाट ल्याई चत्तांमरी चढाउँछन्। 

८. द्यो स्वगं पूजा (सगुन जात्रा)

वैशाख ४ गते मनाइने द्यो स्वगं पूजा पनि बिस्काजात्राको एक हिस्सा हो। यसलाई स्वगं पूजाको नाममा चिनिन्छ। यो पूजा प्राचीन कालदेखि नै सञ्चालन हुँदै आएको इतिहासमा पाइन्छ। बिस्केट जात्रालाई विस्तृत पारी शक्तिशाली देवदेवीहरुका पूजा गर्ने यो परम्परालाई भाषा वंशावलीमा सगुन पूजा भनी उल्लेख गरिएको छ। यस दिन भक्तपुरका शक्तिशाली देवदेवीहरुलाई आ–आफ्नो द्यो छेँबाट निकाली प्राङगण, सत्तल र पाटीहरुमा राख्ने, पूज्ने र विभिन्न प्रसादहरु चढाउने गरिन्छ। यसै परम्परालाई नै सगुन पूजा भनिन्छ।

For video _ https://www.youtube.com/watch?v=XOmJ4ihSub0

मन्दिरमा यौन समागम - गाईजु जातिय पर्व

Mandirma Yaun Samagam. भीमसेन देया लज खङ्गलो वानला ल्यासे, बिस्यूवाने म्वायक सो झायला’– अर्थात् ‘भीमसेनको लिङ्गले मन लोभियो कि, भाग्नु नपर्ने गरी हेर्न आउनु भयो कि’ भक्तपुरको दत्तात्रय मन्दिर अगाडिको भीमसेन मन्दिरको पाटीमा अचेल हरेक दिन गुञ्जने गर्छ नेवारी भाषाको यो गीत । फागुन शुक्ल अष्टमीको दिनदेखि भक्तपुरमा सुरु हुने फागु अर्थात् होली पर्व सङ्गीतमा रमाउँदै भीमसेन गुठीका गाईजुले भीमसेन मन्दिरको पाटीमा बसेर होलीको दिनसम्म यही गीत गाएर होलीको आगमनसँगै बिदाइ गर्दछन् । होलीलाई यौनपर्वको रुपमा दाज्दै आएको गुठीले हरेक वर्ष झै यस वर्ष पनि फागुन शुक्ल अष्टमीको दिनदेखि फागुपूर्णिमासम्म भक्तपुरको दत्तात्रय मन्दिर अगाडि रहेको भीमसेन मन्दिरमा भीमसेनको लिङ्ग र द्रौपदीको योनीको प्रतीकलाई झुन्ड्याएर यौन समागमको रुपमा प्रदर्शनमा राखेको छ । यसलाई पूजा एवम् दर्शन गर्न स्थानीयको सधैँ बिहान घुइँचो लाग्ने गर्दछ भने यो हेर्नका लागि स्वदेशी तथा विदेशी पर्यटकको आगमन उत्तिकै छ । शनिबार र मङ्गलबार यसको पूजा एवम् दर्शन गर्न दर्शनार्थीको घुइँचो लाग्ने परम्पराअनुसार आज बिहानैदेखि मन्दिरमा दर्शनार्थीको घुइँचो छ । काठबाट निर्मित भीमसेनको लिङ्गलाई फागुन शुक्ल अष्टमीको दिन बिहान भक्तपुरको टोल छिमेक, घर, पसलैपिच्छे घुमाएर पूजा गरी साँझ मन्दिरको पाटीमा झुन्ड्याइन्छ । भक्तपुर परम्पराअनुसार यसलाई चिर स्वायगू भनिने बताउनुहुन्छ । चिर स्वायगू अर्थात् लिङ्ग घुमाएपछि फागु सुरु हुने उनले बताए । होली सुरु हुनुअघि फागुन शुक्ल अष्टमीका दिन बिहान भीमसेनको लिङ्गलाई दुई जनाले काँधमा बोकेर भक्तपुरको इनाचो, बाचुटोल, जेला, जगाती, बम्हायणी, च्यामासिंह हुँदै, तचपालस्थित दत्तात्रय मन्दिर वरिपरि रहेको घर, पसलैपिच्छे लिङ्ग दर्शनका लागि लगिएको थियो । घर र पसल घुमाएको लिङ्गलाई भक्तजनले स्पर्श गरी ढोग्ने र दान दक्षिणा दिने परम्परा छ । यसो गरेमा व्यापार फस्टाउने विश्वास रही आएको स्थानीय व्यापारी माइलाराम श्रेष्ठ बताउँछन् । बजार घुमाएपछि भीमसेन मन्दिरमा ल्याएको लिङ्ग र योनी आकारको प्वाल भएको रातो कपडासमेत भीमसेनको मन्दिरमा झुन्ड्याएको छ । झुन्ड्याएको लिङ्ग हल्लाउँदा योनी आकारको कपडाको प्वालभित्र छिर्ने गर्दछ भने यसलाई विकृतिको रुपमा नभइ सांस्कृतिक महत्वको मान्दै भीमसेन र द्रौपदीको यौन समागमको रुपमा संरक्षण गरिँदै आएको स्थानीयवासीको भनाइ छ । साङ्केतिक रुपमा यौनसँग सम्बन्धित फागु पर्व अर्थात् होली पर्व दक्षिण एसियामै कतै कृष्णसँग र कतै प्रह्लादसँग सम्बन्धित रहने भए पनि विशेषत भक्तपुरमा भीमसेनसँग सम्बन्धित रहने गरेको संस्कृतकर्मीको भनाइ छ । चिर स्वायगू अर्थात् लिङ्ग झुन्ड्याएपछि यहाँका नेवार समुदाय भीमसेन मन्दिरमा गई गुठी भोज खाने गर्दछन् । मन्दिरमा झुन्ड्याएर राखिएको लिङ्ग र योनीको अवलोकन गर्न र दर्शन गर्न भक्तपुरका मात्र नभइ उपत्यका कै व्यापारी र धार्मिक विश्वास राख्ने व्यक्ति र महिला एवम् पुरुष आउने गरेको भीमसेन गुठीका कृष्णबहादुर गाईजुले बताउनुभयो । फागुपूर्णिमाको दिन साँझ मन्दिरबाट लिङ्ग निकाली एक व्यक्तिले बोकेर ब्रम्हायणी मन्दिरस्थित खोलामा लगेर पखाल्ने र पुनःमन्दिरमा राखेपछि विधिवत् रुपमा होली समापन हुने उनले बताउए । मन्दिरबाट खोलासम्म लिङ्ग बोकेर लैजाने व्यक्तिको छोरा जन्मन्छ भन्ने विश्वासका आधारमा लिङ्ग बोक्न चाहनेकोे प्रतिस्पर्धा चल्ने गर्दछ । भीमसेनको मन्दिर जगतप्रकाश मल्लको समयमा बनेकाले होलीको यो परम्परा पनि यही बेलादेखि सुरुवात छ .

Buranjyaa part 1-2014