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

पौराणिक कथा :–करुणामय बुङमती वुङ्गदेव जात्रा.

• पौराणिक कथा :–करुणामय
  
  

  

  सधैंजसो राजाले आफ्नी सानी छोरीलाई धेरै रोएर दुःख दिएको बेला स्यालसँग बिहे गरिदिन्छु भनेपछि छोरी चुप लाग्थिन् । फेरि फकाएर फकाउनै नसकेर हैरान भएपछि तँलाई स्यालसँग विहे गर्छु भनेपछि चुप लाग्थिन् र खुशी हुन्थिन् । एकदिन राजकुमारीको बिहे गर्ने राजाले निधो गरे । जब राजाले ज्योतिषीको परामर्शमा छोरीको बिहेका लागि साइत देखाउन थाले दरवारको चारैतिर स्यालहरु नरोकिकन हू हू ...  हू हू.....हू हू......हू हू गरी कराउन थाले । राजाले किन यी स्यालहरु कराउन आए भनी ज्योतिषीहरुलाई सोध्दा उनीहरुले यो केही होइन हजुरले सानोबेला छोरीलाई फकाउँदा स्यालसँग विहे गरिदिन्छु भनेको फल हो भनेर भने ।जुन देशमा त्यो समय तपस्वी गोरखनाथले सम्पूर्ण नाग खिँची नागहरुलाई आसन बनाई तपस्या बस्नुभएको थियो । जसबाट नागहरुको आसनमा बन्दीको कारण वर्षाद नभै धेरै वर्ष पानी नपरी खाद्यात्र ( धानको ) अनिकाल भएको थियो । प्रजाहरुले धेरै दुःखको सामना गरेका थिए । राजाले छोरीलाई बिहेको कुरा गर्दा राजकुमारीले पनि स्यालसँगै बिहे गर्छु भनेर जिद्दी गरेकी थिइन् र राजाले पनि आफ्नी अत्यन्तै प्यारी कान्छी छोरी भनेर एकदमै भव्यसँग बिहे गर्ने चाँजोपाँजो मिलाउन थाले ।
  राजकुमारीलाई लिन पनि अत्यन्तै सेतो स्याल दुलाहा भएर जन्तीका साथ आएका थिए । त्यसपछि सबै स्यालहरु मिलेर सेतो स्यालका साथ राजकुमारीसँग धुमधामसँग पूजाका कर्महरु गरे । अनि राजाले पनि प्रशस्त दाइजो दिएर उक्त सेतो स्यालसँग बिहे गरिदिए । स्यालहरु सबैले सेतो स्याललाई दुलाहा र राजकुमारीलाई दुलही बनाएर लगे । जाँदा–जाँदा एउटा पहाड देखाप¥यो अनि त्यहाँ गुफा देखा पर्यो , सबै स्यालहरु गुफाभित्र पसे । राजकुमारी त्यहाँ एक्लै अलमलमा परेकी थिइन् । अनि सेतो स्यालले आँखा चिम्ल भने । राजकुमारीले आँखा चिम्लेकी थिइन् त्यसपछि विष्णु भगवानरुपी सेतो स्यालले अब आँखा खोल भनेर भने । अनि राजकुमारीले आँखा खोल्दा त सुनै सुनले बनेको अत्यन्तै भव्य ठूलो कोठा भित्र पुगेकी थिइन् । त्यहाँ सबै भाँडाकुँडा तथा सबै सजिसजाउका सामानहरु सुनै सुनका थिए । त्यहाँ अनेकौं मिष्ठात्र पाकिरहेको थियो र ती अनेकौं मेवा मिष्ठात्रले जन्तीलाई इच्छा–भोजन गराई सत्कार गरिरहेको थियो । सबैजनाले सुनको थालमा मनलागेको–मनलागेको खानेकुराहरु खाइरहेका थिए । राजकुमारीले पनि मनलागेको–मनलागेको खानेकुराहरु खान थालेकी थिइन् । सेतो स्यालले भन्यो “हेर , खाइसकेपछि आफूले जेमा खाएको हो त्यो थालहरु दरवार लैजानू ।” सबैजना गुफाबाट बाहिर निस्के तर राजकुमारी फेरि एक्लै भित्रै परेकी थिइन् । अनि सेतो स्यालले “अघिजस्तै आँखा चिम्ल र खोल ”भनेर भने । राजकुमारीले त्यसै गरेपछि गुफा बाहिर पुगेकी थिइन् । अनि उक्त सुनको थालहरु लिएर दरवारमा गएकी थिइन् । सुनका थालहरुका साथ राजकुमारी दरवार भित्रेको देख्दा राजालाई अचम्म लाग्यो । जुन छोरीको बिहेमा भएको खर्चभन्दा त्यो कोसेली अत्यन्तै बढी थियो । राजाले बिचार गर्यो यो ज्वाइँ साधारण होइन । ज्वाइँद्वारा नै धान फलाउने जतन अथवा यत्न गर्नुपर्छ । अनि राजाले हाम्रो देशमा धान फलाउन पाए जनताहरु सबै सुखी हुने थिए खै केही उपाए सुझिरहेको छैन भनेर छोरीलाई भने । अनि छोरीले “ज्वाइँलाई विन्ति विसाउनुस् यसको समाधान गरिदिनुहुन्छ ” भनेकी थिइन् ।
  अनि त्यसपछि राजाले उक्त सेतो स्याल विष्णु भगवान भएको थाहा नपाए पनि कुनै अत्यन्तै चामत्कारीक तथा ठूलै व्यक्तित्व रहेछ भनेर अनुमान लगाएका थिए ।
  त्यस देशका राजाकी सानी छोरीसँग बिहे गर्ने अठोटले , सानी छोरी राजकुमारीलाई सानो बेलामा विष्णु भगवानले सपनामा “म सेतो स्याल भै तिमीसँग विवाह गर्न आउनेछु , राजाले तिमी रुनेबेलामा जहिले पनि तिमीलाई स्यालसँग बिहे गरी दिउँला भनी फकाउँथ्यो । तिमी खुशी हुन्थ्यौ ” भनी भनेका थिए । तर भगवानले “सपनाको यो कुरा कसैलाई थाहा नदिनु” भत्रुभएको थियो ।
  बिहे भएको चार दिनको दिन स्याल पनि ससुरालीमा टुप्लुक्क आइपुगे । ज्वाइँलाई ससुराली भित्र्याउँदा ज्वाइँलाई भगवानलाई झैं सेवा सत्कार गरी ठूलो सम्मानपूर्ण स्वागत गरे । राजाले पनि स्याललाई भगवान ! भगवान ! भनेर अत्यन्तै आदर सत्कार गरिरहे । केही समयपछि राजाले मनमा गढेका सबै कुराहरु खोल्न थाले “ ज्वाइँ नारायण अब हजूरमा यो देशको सुख शान्ति र प्रगतिको लागि सानो विन्ति राख्न चाहन्छु । ” राजाले फेरि विनम्र भै विष्णु भगवान रुपी स्यालसँग भने । “मेरो देश र प्रजा साह«ै संकटमा फसिरहेका छन् । वर्षाद नभएको कारण अत्रवाली सुखा छन् । यो अनिकालले सारा प्रजा दुःखी छन् । धान फलाउने जतन गर्न पाए प्रजाहरुको आँखामा हर्षको आँसु बग्नेछन् भगवान ! देशमा शान्ति पाउनेछन् ।”त्यसपछि राजाले अत्र फलाउन असमर्थ भएको देखेर राजालाई सेतो स्याल ( विष्णु भगवान ) ले विनम्र भै भत्रुभयो “ म उमार्न सक्छु तर त्यसभित्र दानामा रस अथवा वीउ मबाट सम्भव छैन । यो करुणामयबाट मात्र सम्भव हुनेछ । यसतिर प्रयास गर्नुहोस् । सफलता मिल्नेछ । किनकी करुणामय यहीं ल्याएर रथयात्रा गरेमा वर्षा हुनेछ । वर्षाद विना अनिकाल जाँदैन । श्री करुणामय भारतको आसामको कामरुकामाक्ष देशमा हुनुहुन्छ । जहाँ आइमाइको राज छ । लोग्ने मान्छेको बाँच्ने अधिकार छैन । राक्षशी समाज छ । त्यहाँ तन्त्र–मन्त्र टुना–मुना गर्ने र बडो चलाखी र पुरुषार्थ गर्नसक्ने व्यक्ति लिएर जानुपर्छ । बडो चलाखी तवरले करुणामयलाई ल्याउनुपर्छ र अनि बोटको ( अत्रमा ) धानमा चामलको गेडा अर्थात वीउ हुन्छ ” भनेर भने । त्यो देश जाने सिमानामा सालीनदी छ । बडो खतराजनक छ । पानीमा छुनासाथ मानिस शिला बन्छ । साबधान भै जानुस् र आउनुस् ।”विष्णु भगवान रुपी सेतो स्यालले धानको बीउ उत्पत्र गरेर राजालाई दिए र राजाले सबै प्रजाहरुलाई बाँडे । धान रोपिसकेपछि धेरै समयपछि धानका बोटहरु लटरम्म फल्न थाले तर धानको भित्र वीउ उम्रेको थिएन ।
  त्यसपछि भक्तपुरका उक्त राजाले करुणामयलाई ल्याउनका लागि कामरुकामाक्षमा जानको लागि २ जना पराक्रमीहरु छाने । कान्तिपुरबाट वन्धु आचार्य तान्त्रिक र पाटनबाट ललित ज्यापू ( रथचक्र ) । अनि भक्तपुरको राजा , पाटनको ललित ज्यापू कामरुकामाक्ष जाने भनेर गए । त्यहाँ जानलाई खोला तरेर जानु पथ्र्यो कतै पुल थिएन । खोला तर्नलाई खोलाको पानी छोएपछि शिला हुने भएकोले उनीहरु असमर्थ भए । अनि उनीहरुले यो समस्या कान्तिपुरको उक्त तान्त्रिकलाई विन्ति बिसाए ।
  त्यसपछि तान्त्रिकले पनौतीमा कर्कोटक नागसँग यसबारे जुन उपाय निकालेर भएपनि मद्दत प्राप्त गर्ने निधो गर्यो । अनि उक्त तान्त्रिकले उक्त नागलाई हजुर त जस्तो पनि बत्र सक्नुहुन्छ , सबैभन्दा सानो बत्रे हजुरको शक्तिलाई पनि हेरुँ न त भनी फुक्र्याएर भन्यो । नाग पनि फुर्तिसाथ सानो लिखा जस्तो सानो भयो । अनि तान्त्रिकले एउटा सानो बट्टाभित्र बन्द गरिदियो । अनि राक्षशकहाँ बाट करुणामय ल्याउन मद्दत गर्ने वाचा बँधाई बट्टाबाट बाहिर निकाल्यो ।
  त्यसपछि करुणामय ल्याउने योजनामा भक्तपुरका राजा , पाटनका ललित ज्यापू , पनौतीको कर्कोटक नाग र कान्तिपुरको वन्धु आचार्य तान्त्रिक जुटे ।
  राक्षशकहाँ तान्त्रिक खोला तरेर जानुपर्ने भएकोले कर्कोटक नागलाई ठूलो बनेर पुल बत्र लगायो । त्यो कर्कोटक नागको पुलमा चढेर तान्त्रिक राक्षशको राज्यमा गयो । अनि कर्कोटक नागले राक्षश महारानीको पेटमा सानो जुका भई निरन्तर हलचल गरी पेट दुखाउने काम गर्न थाल्यो । यता तान्त्रिकलाई राक्षशहरुले खान तयार भइसककेको थियो अनि तान्त्रिकले म वैद्य हुँ मैले महारानीको पेट दुखेको रोग निको पार्न आएको हुँ भनेर भन्यो । अनि सबै राक्षशहरुले उफारी–उफारी काँधमा चढाई तान्त्रिकलाई महारानीकहाँ लगे । तान्त्रिकले पनि महारानीको पेटमा झारफुक गरेर मन्त्रेर अब तिमी नचल म आइसकेँ भनेर नागलाई बाहिर जान आग्रह गरेको थियो र राक्षश महारानीलाई यदि पेट दुखेको निको पारी दिएमा जे माग्यो त्यही दिने वाचा पनि गराएको थियो । महारानीलाई निको भइसकेपछि पनि तान्त्रिक त्यहाँ धेरैदिन मोजमस्तीमा भुलेर बसिसकेपछि कर्तब्यबोध भयो र राक्षश महारानीसँग अब बिदा पाऊँ मैले हजुरलाई निको पारेको बदलामा मलाई मेरो वरदान दिनुस् तपाइँले नाइँ भत्र पाउनुहुत्र तपाइँकी कान्छो छोरा मलाई दिनुस् भनेर भन्यो । रानीले कान्छो छोराको बदलामा हाम्रो जुनसुकै छोरा पनि दिन तयार छौं भनेर भने । तपाइँहरु वाचाले हारिसक्नु भयो भनेर भन्दा पनि उनीहरुले मानेका थिएनन् । तर त्यहाँ उक्त तान्त्रिकले वाचाले हराई कान्छो राजकुमारलाई मन्त्रको बल प्रयोग गरिसकेको थियो ।
  फेरि राजालाई एउटा सुवर्ण कलश दिएर त्यो कलशमा भँमरा तीनपटक घुम्ने बेला कलशमा बन्द गर मैले कलशमा मन्त्र फुक्ने काम गर्नुपर्ने हुन्छ भनेको थियो । तान्त्रिकले कलशमा हेरेर मन्त्र–तन्त्र गर्न थाल्यो भँमरा कलशको एक चक्कर लगाएर गए । तान्त्रिकले भँमरा आयो भनेर तान्त्रिकले कुममा धकेल्दा भक्तपुरको राजा सुतिरहेको थियो । तान्त्रिकले फेरि मन्त्र–तन्त्र फुक्यो फेरि भँमरा कलशको एक चक्कर घुमे । फेरि तान्त्रिकले अलि जोडसँग कुममा राजालाई धकेल्यो तर राजा बसी–बसी निदाइरहेका थिए । फेरि तान्त्रिकले तन्त्र–मन्त्र गरी भँमरालाई तान्दा , मेरी कान्छो छोरालाई ज्यान गएपनि पठाउँदिन भनी राक्षशनी रानीले कान्छो छोरा सुत्ने ढोकामा कपाल सबै फैलाएर निदाइरहेकी थिइन् । कलशमा मन्त्र फुक्ने बित्तिक्कै राजकुमार पहिलो र दोस्रो पटक जस्तै भँमरा भएको थियो तर आमाले छेकिराखेकीले गर्दा आमाको रांैसबै एक–एक केस्रा गरी भँवरा रुपी करुणामयले खुट्टाले पञ्छाइरहेको थियो । उता तान्त्रिकले ठूलो–ठूलो मन्त्र फुक्न थाल्यो । यता कलशतिर हानिन हतार भएकोले उसले एउटा र्रौं नहटाइकन उडेर कलश भएको ठाउँमा हानिएर आएको थियो र कलशलाई चक्कर लगाउन शुरु गरेको थियो । अनि तान्त्रिकले भक्तपुरको राजालाई अत्यन्तै जोडसँग कुममा धकेल्यो । राजा झल्यास्स ब्युउँझे र हत्तपत्त भँमरालाई एकचक्कर लगाउने वित्तिक्कै कलशमा भँमरालाई बन्द गरे ।
  तर पाटनकाहरु , कान्तिपुरकाहरु र भक्तपुरकाहरुमा जात्रा कसकहाँ गर्ने भत्रेमा विवाद पर्यो । त्यसो भए सबैभन्दा बूढो व्यक्तिलाई यसको निर्णय गर्न लगाउने भत्रे निश्कर्षमा उनीहरु पुगे र उक्त सबैभन्दा वयोवृद्ध व्यक्तिलाई सातवटा च्यूरा कुट्ने उगःको माथि निर्णय गर्न लगाउने भनी बसाए । पाटनकाहरुले चलाख भएर टपरीमा गुलियो दही च्यूरा खाएर निर्णय गर्नुस् भनेर दही च्यूरा दिए तर त्यसमा सबभन्दा मुनि नून राखिदिए । वयोवृद्ध व्यक्तिले स्वाद मानी–मानी दही चिउरा खान थाल्यो अन्तिममा खान लाग्दा तल राखेको चर्को नून जिब्रोमा पर्यो र उसले रिसाएर पाटनकाहरुलाई औंला ठड्याएर जङ्गिदै भन्यो “ नूनको सोझो.............”अरु वाक्य फुट्न नपाउँदै उक्त वयोवृद्ध व्यक्ति सातवटा उगःबाट खसी त्यहीं प्राण त्याग गर्यो । त्यसपछि उक्त वृद्ध व्यक्तिले नूनको सोझो भनी औंला ठड्याएर देखाएकोले त्यो जात्रा पाटनको राजाकहाँ गर्ने निर्णय भएको हो भनेर मानिएको थियो ।
  अनि चाकुवाद्यो ( मीननाथ ) ले दिशा देखाएर कलशरुपी करुणामय देवताको पाटनको वुङ्गमतीबाट रथयात्रा गरे । यो खबर तुरुन्तै तपस्वी गोरखनाथबाट थाहा भयो । श्री करुणामय प्रभु मेरो गुरु पाटन सवारी भयो । अब म तुरुन्तै गुरुको दर्शन गर्न जानुपर्छ भनी गोरखनाथ आसनबाट उठी पाटन प्रस्थान गरे ।
  विष्णु भगवान रुपी सेतो स्यालले राजकुमारीलाई बिहे गर्दा राजकुमारीलाई “ देशमा वर्षाद वर्षौं नभई देश अनिकालको संकटमा फसिरहेको दुर्दशा हटाउन , गोरखनाथ नागहरुको आसन बाँधी तपस्या गरिरहनुभएको वन्दी नागहरुलाई फुकाउन र वर्षाद गराउन , करुणामय ( मच्छिन्द्रनाथ ) लाई राक्षशी समाजबाट छुटकारा दिलाउन तथा करुणामय लोकनाथलाई दर्शनको खातिर तपस्या गरिरहेको गोरखनाथको इच्छालाई पूर्ण गर्न मैले तिमीसँग बिहे गर्नु बाहेक यी सम्पूर्ण काम पूर्ण गर्नका लागि अरु उपाय नरहेको ” भनेर भनेका महत्वपूर्ण कुराहरु राजकुमारीले मनमनै सम्झिरहेकि थिइन् ।
  फेरि जब तपस्वी गोरखनाथ आसनबाट उठ्नुभयो तब सबै नागहरु त्यो ठाउँबाट मुक्त भएर आ–आफ्नो वासस्थान रवाना भए तब आकाश पूर्ण रुपले धाँक्ने गरी कालो वादल मेघ गर्जनका साथ फिजिन थाल्यो र आँधी बाँधी वर्षा भयङ्करले आउन थाल्यो र अनिकालको महामारीलाई सहकाल रुपी वर्षादले भगाइदियो र अनि श्रापबाट राक्षशकुलमा जन्मिएकी करुणामय देवताको पनि उद्धार भयो र देवताकै रुपमा मान इज्जत प्राप्त भयो । विष्णु भगवानले प्रकट गर्नुभएको वचण वाणी अनुसार , प्रयास गर्नुहोस् सफलता मिल्नेछ भत्रे वरदान सार्थक हुनगयो ।
  अद्यापी करुणामयको बुढी औंलामा आमाको उक्त रौं एउटा नाघेर लागेको दाग देख्न सकिन्छ भत्रे भनाइ जनमानसमा छ ।
  
   रातो मच्छिन्द्रनाथ करुणामय बारे जानकारी :–
  
  
  

  

  वुङ्गदेव

  
  सहकालका देवताका रुपमा मानिने करुणामय (मच्छिन्द्रनाथ) हिन्दू धर्मावलम्बी मध्ये शैव धर्मावलम्वीका नाथ सम्प्रदायका भगवान भनेर मान्दछन् , त्यस्तै ऐतिहासिक रुपमा सन्तगुरु करुणामयका रुपमा पूज्दछन् । त्यस्तै वौद्ध धर्मावलम्बीहरुले श्री करुणामय वुंगद्यः ‘पद्यपाणी’ , आर्यावलोकितेश्वर ,लोकनाथ आदि नामले पूज्दछन् । प्रख्यात करुणामय ( मच्छिन्द्रनाथ ) देवतालाई नेवार समुदायले वुङ्गमतीबाट यो रथयात्रा शुरु गरेको भएको हुनाले वुङ्गदेव भनी पुकार्दछन् । वास्तवमा करुणामयलाई वृष्टि देवता , पानीको देवता , किसानको देवता , कर्मठ देवता , लोकेश्वर , मृगपाद , वोधिसत्व , गोरखनाथ गुरु ,आर्यवलोकितेश्वर , श्रीमद् लोकेश्वर , सूर्य , नाग देवता आदि सहस्र नामले पुकार्दछन् । स्वयम्भू चैत्यको पश्चिम भागमा रहेको रातोवर्णको भगवान अमिताभ बुद्धको मूर्तिको तल्लो तल्लामा श्री पद्यपाणी लोकेश्वरको मूर्ति रहेको छ । उक्त मूर्ति नै पाटनमा जात्रा गर्ने रातो मच्छिन्द्रनाथ मानिएको छ । त्यसकारण मच्छिन्द्रनाथलाई वोधिसत्व पनि भनिन्छ ।
  कामरुकामाक्षबाट नेपालमा कलिगत संवत ३३७६मा राजा नरेन्द्रदेवले करुणामयलाई वुङ्गमतीमा विराजमान गराई जात्रा परम्परा चलाएको कुरा मणिशैल महावदान हस्तलिखित ग्रन्थमा उल्लेख गरिएको पाइन्छ ।
  उक्त समय नेपालमा राजा नरेन्द्रदेवले भक्तपुरमा राजधानी बनाएर राज्य गरेकाले कान्तिपुरका तान्त्रिक बन्धुदत्त आचार्यले साधना गरी , पाटनको ललित ज्यापूले बोकी कामरुकामाक्षबाट सुवर्ण कलश नेपाल ल्याएका थिए र रथयात्रा गरेका थिए । रथको पाङ्ग्राहरु सानदान काठ , गर्भगृहमा लाकुरी काठ , सौरको काठ कर्कोटक नागको प्रतीक हो ।
  यो जात्रा करीव १६०० वर्ष पुरानो मानिन्छ र यो जात्रा बैशाख शुक्ल प्रतिपदादेखि शुरु भएर असार शूक्ल चौथीसम्म करीब दुई महिनासम्म मनाइन्छ । वर्षाको लागि गरिने सहकालका देवता मच्छेन्द्रनाथको रथयात्रा प्रत्येक वर्ष यसैको सिलसिलाबद्ध रुपमा पाटनमा आजसम्म पनि मनाइँदै आइरहेको छ ।
  यी सब गुह्य र वाह्य कुराहरुको भजन गीतको रुपमा संगिती भनी श्लोक गाउने कार्य यस मच्छिन्द्रनाथको रथयात्रामा अद्यापी गर्ने गरिएको छ । त्यस संगितीमा करुणमयको वारे थुप्रै वर्णन पाइन्छ , जसको सानो श्लोक यहाँ प्रस्तुत गरिएको छ ।
  कापोतल चल भूमि विजय नेपाल वत्सर द्वादश अनावृष्टि मोक्षनार्थ ।।
  आरोधित श्री बुंग मल्ल लोकेश्वरं गुरु वन्धुदत्त नृप श्री नरेन्द्र देवं ।।
  रथचक्र मयायात्रा गमन ललितापुरिं पूजित सरोज पाणिं त्रैलोक्यनाथं ।।
  येन भक्ति येन मोक्ष प्रदता पाद पंकज युगेनौमि शिरसातम् ।। )
  
  Rato Machindra Nath Jatra ( Patan)
  
  
  

  

  There is no such deity probably in any religious pantheon on the earth as folklorishly popularized as Rato Machhendra. There are many fascinating legends and rates -woven around Buddhist deity. And this deity also has awful lots of names such as Karunamaya, Bodhisattwa Padmapani, Awalokeswara, Lok Nath, Bunga Dyo, etc. The multiplicity of its names also speaks a lot for his popularity. One might wonder and ask what made this deity so popular. One of the most strongly supporting elements in the composition of its popularity is that it has been a long tradition to worship him as the all-compassionate god of rain and food grain.Nepal as we all know is an agricultural country where more than 90% of people -even to this age of science and advance technology-heavily depend on agriculture for their daily grind. The method of cultivation here, except in few cases is still in primitive stage. The monsoon rain is still the main source of water. The monsoon in Nepal generally begins sometimes in the middle of June and continues until the end of August. But the Nepalese farmers long before the monsoon starts thinking about the weather and look at regular clouds wondering whether they are going to have enough rain for the farming that year. The only way to free them from this worry and stay relaxed is to pray to the rain god for the better crops.This is one of the main reasons why the chariot festival of Rato Machhendra which begins every year on the first day of the bright fortnight of Baishakh proves in itself to be the most auspicious occasion for the entire farmers' community-specially for (the Jyapu) farmers of Kathmandu Valley. These are the most enthusiastic people who always take active part in the celebration of this chariot festival. Soon after the festival phenomenon arrives at the door these people set them to the tremendous task of making a most fascinating festival chariot as tall as an ordinary three storeyed Nepalese house which demands a great skill. They become busy doing all kinds of things from carrying the building materials to using them in their most practical way. And also it is the same Jyapus who would pull the festival chariot throughout the different routes of the Patan city during the entire period of the celebration. The chariot is so heavy that it takes at least one hundred people to make it move. Beside this, the Jyapus also have a great enthusiasm for music. No festival in Nepal is considered complete without the musical performance. Their favorite drum locally known as Dhimaya and Bhushya (a pair of big brass cymbals) is a big must for the chariot festival of Rato Machhendra. When they bang beat the Dhimaya and hit hard the big brass Bhushyas people immediately make remarks on their performance and say that here they go for festival. Such an enthusiastic music they produce that it immediately puts the entire festival-watchers into a most enjoyable mood and they just go excited with it. This is all about the enthusiastic participation of the Jyapus in the celebration of the festival that has always a great respect for this rain god, Rato Machhendra Nath.
  This deity is so much involved in everyday life of the people that he is almost in their blood. There is a very popular saying. It goes this way: one should never live in the neighborhood which does not have any Sanlhoo Guthi (a kind of religious institution or a trust devoted to rendering a service to Rato Machhendra on every first day of the month). Besides this, there are so many other customs and ritual traditions which throw plenty of light on the recognition of this deity's popularity as the rain god. There is a very old tradition custom according to which every year the bathing festival of this deity takes place at Lagankhel in Lalitpur. The main feature of this festival is the pouring out of the holy water over this rain god. There will be four big silver jars set in four different directions of this deity. When the chief priest announces the right moment to pour out the jars over the deity, all four priests long standing around the deity hastily lift their respective jars and pour out the water straight over the deity. As a very popular belief has it, the direction from where the first jar was lifted and poured out will definitely have better crops this year. It is said that in order to watch this auspicious ceremony even the important Nagas from heaven (water spirits) hand around in the air. Sometimes the public blows out into such an extent that some people in the crowd even strongly claim to have seen Nagas in the air watching the festival  
  
  Machindra Nath Rath Jatra
  It is celebrated in Patan. It is very important for the farmers as it is celebrated before monsoon for good rain. As Lord Machhendranath views his followers from the high seat of his chariot, its fourwheels-representing the powerful Bhairab-receives rice and vermilion powder.
  (Begins on the full moon day of Baisakh) This is the longest as well as the most important festival of Patan. It begins with several days of ceremonies and the fabrication of a wooden-wheeled chariot at Pulchowk, near the Ashoka Stupa.The chariot bears the shrine of the Rato (Red) Macchendranath (the Tantric expression of Lokeshwar) and carries a very tall spire fabricated from " bamboo poles raised from four ends of the chariot. This unwieldy spire is around 10 meters tall and on account of which, the chariot balances precariously.
  It is said that calamity is certain to strike the land in the event of the chariot overturning or breaking down during the course of this festival. (Quite often, it does collapse!).Following the construction, the chariot is towed through the streets of Patan by throngs of devotees every day. Each day, it is put to rest in one of the many venerated spots in the city.This goes on for a month until it comes to rest on the big field outside the zoo and end with the Bhoto Jatra, another major festival, during which the bejewelled 'bhoto' of Machhendranath is displayed to the public.
  Rato Machchhindranath is considered both a Hindu and Buddhist god, who by legend was brought from Assam,  by a farmer to Lalitpur valley in Nepal to prevent a drought during the rice season. It is known as Bundyo to local Newars. The longest running chariot festival in Nepal recreates this event in hope for good rain. This festival is called the Rato Machchhindranath jatra. It begins with the construction of the chariot in Pulchowk, Lalitpur and ends with the Bhoto Jatra festival in Jawalakhel. It is attended by the head of state of Nepal. It is celebrated by Buddhists and Hindus of Newar community. It is celebrated by carrying the chariot to different places in the town of Patan.The name "Rato Machchhindranath" translates as "Rato" meaning Red and Machchhindranath consists of 2 words "Machhindra or Matsyendra" which means Fish (Matsya meaning fish) and Nath being the god. Rato Machchhindranath has been worshipped as a god of rain and the festival starts just before the monsoon arrives in Kathmandu.
                                                                          
  RATO MACHHINDRANATH AND BHOTO JATRA
  

  

  There are two Machhindranath in Kathmandu. One is in Asan tole and the other is in Machhindrabahal at Lalitpur. Machhindranath is very popular in Nepal because it is in addition with it’s ancient Bhoto jatra; on which day the Government of Nepal’s officials get government holiday in the capital but not through out the country. This festival starts during the Baisakh dark fortnight (MAY). A huge tall chariot has been prepared a few days before the inception of the festival. The chariot voyage starts from Pulchok. The distance of starting point and the Machhindranath’s temple is about one kilometer far in between.
  A 32 feet’s high pole’s chariot has been prepared by hard labour, which is made out of the cane, wood, bamboo. Before starting the voyage the committee offers cow donation to the priest. On this day Machhindranath’s and Minanath’s temple is just 1020 meter’s distance in between to each other. Minanath  is regarded as the creator God and Machhindranath has been regarded as the breeder god. According to the historical belief Minanath’s temple was built by Lichhabi King Amsubarma and Machhindranath was built at the time of King Narendra Dev. There is a very  interesting myth regarding to the origin of lord Machhindranath.
  A long time back there broke out a great draught; and a fearsome famine existed there in the country. Because of no rainfall the countrymen were very much terrified with havoc. It was because the Nags who were the cause of the rain; were captured by lord Gorakhnath. Lord Gorakhnath and Machhindranath are believed to be student  and teacher respectively.
  Once lord Gorakhnath had come to visit Nepal. He was very much hungry and badly was in need of food. In the evening he rested at a woman’s house who was believed to be a witchcraft practitioner. Because of his much hunger Gorakhnath continued to eat a lot but the woman also relentlessly went on serving him the food. Finally Gorakhnath became very much surprised on how the waman has been providing him the food? Also Gorakhnath is believed to the true feature of the Lord Shiva and if he wishes he could swallow the whole earth as well. That’s why Gorakhnath was very much surprised to the woman; and he saw there nine headed ridiculous snake helping her to serving the food continuously. Gorakhnath became very much angry with the Nag and the woman; then he carried the Nag with him in his pocket and started to live at Mrigasthali in Pashupatinath. He had captured the Nags and brought them in his custody. So because of this there was no rainfall in the kingdom. Myths believe that later the king went to bring Machhindranath from Assam,India to worship for rainfall in the country. Gorakhnath and Machhindranath were the student  and teacher. So when Gorakhnath heard that his teacher Machhindranath has come to Nepal, he then hurriedly went to look his teacher to pay homage. In the mean time the Nags (serpents) who had the power for the rain were released when he went to meet his son leaving that place; the there appeared a heavey shower in the country immediately by the Nags. Since then it’s believed that the havoc disappeared from the country and the situation was improved nicely forever. So that’s why the valley people worship to lord Machhindranath.
  Different writers have collected different legends on this aspect. However the knowledgeable local elders say this temple was made by Lichhavi King Narendra Dev and the lord’s idol was also consecrated by him brining from Kamuru Peeth of Assam India when there was a great famine in the country.
  When the chariot procession starts thousands of people assemble to observe and worship the fair. On the first day it’s carried out pulling by all towards the Ganabahal; and on the second day to Sundhara; and on the third day to Lagankhel. Then it rests there for two three days. The place where it rests, every night and morning people come to worship there to the chariot. After reaching Lagankhel one coconut ball is dropped from the top of the chariot. Its believed that if some one becomes able to grab the coconut, then his wishes will be fulfilled. So many people compete to catch the dropped coconut.
  The coconut receiver again offers the coconut to the chariot with some donation. After that the chariot reaches at Thali and in the next morning only the women pull the chariot. Since the beginning of the Rathyatra (fair) the traditional Newari bands are played. Also the Nepal Government’s Sarduljung battalion plays their band along with the Jatra. Also there, the seventeen century’s King Siddhi Narshing Malla’s warring sword is demonstrated by keeping it in a parasol. After reaching to Thahiti tole the chariot remains there for few days.
  After a few days the knowledgeable prophets forecast the auspicious day to demonstrate the Lord Machhindranath’s Bhoto (vest), which is called the “Bhota Jatra”. Thousands of people along with the foreigners amass there to look his Bhoto Jatra. A grand ceremony takes place on that day.  Previously the king and Queen also used to come there to grace the fete but now the head of the Nepal government come there and government officials in the valley get government holiday to his day. People herd there to look the lord’s Bhota (vest) because they believe that after looking the Bhoto definitely some good luck comes for them.
  
  At the last the chariot is dismantled and the lord is taken to Bugmati, which is about 5, 6 kilometer’s distance, from Machhindranath temple; where Machhindranath resides there for a few month; then again he’s brought at Machhindranath at Jatra inception time. He is brought from there only after the Prophet calculates for the auspicious day. Minanath’s idol is taken at his respective temple itself. Every year the chariot is dismantled at Pulchowk but in every twelve year it should  be taken to Bungmati itself to be dismantled.
  Bhoto Jatra: There is a very interesting legend regarding to this “Bhoto Jatra”. Once the Nag Raj went in search of a physician. Lastly he met to a Baidhya (herbal Physician); and he took to the Baidhya in side his water kingdom (pond) at Karkotaka Daha (Pond). This Karkotaka Daha is situated towards the southern side of Kathmandu. The physician healed the Nagin (queen serpent) and the King Nag became very happy. Then he rewarded him an invaluable Bhoto (vest) decorated with so many precious diamonds. Then the Physician returened back very happily at his home.
  One day the Baidhya went to transplant paddy in his field. He unfastened his Bhoto while he was working; and kept in near by there somewhere. In the mean time a Giant arrived there and stole his invaluable Bhoto; then the physician became very much sad and enraged. One day when there was a broke out a terrible fighting in between of them. No one could win the fight. Finally the case was field at the King’s court for the final settlement. The king was not satisfied from both side’s evidence; and lastly he decided to offer it to lord Machhindranath by amassing a huge gathering and demonstrating there to all. This is the same Bhoto, which is demonstrated till to this day in Lagankhel Kathmandu; which is called the “Bhoto Jatra” by all. It’s believed that Lichhibi king Gunakam Dev had started the practice of this fete.                                         

Chhath Puja - the tradition was started be Karna, the son of SURYA.

Chhath Puja has its origins in the Vedic age and it is often seen to have a connection with the famous Gayatri mantra and the yajna (sacrifice) associated with it. Gayatri mantra, which finds first mention in the Rig Veda, is dedicated to the Savita god i.e. Sun god. Sun is considered as the God of power, radiance and life. By performing this Puja people thank the Sun god for the gifts that he has bestowed upon them.

Chhath means six. Chhath is named so because it is celebrated mainly on the sixth and seventh day of the Hindu month of Kartik. But the whole of Chhath Puja lasts for four days. Like any other festival, it is full of colour, spirit and life.

This is a ritual bathing festival that follows a period of abstinence and ritual segregation of the worshiper from the main household for four days. During this period, the worshiper observes ritual purity, and sleeps on the floor on a single blanket. The main worshipers, called Parvaitin, are usually women. However, a large number of men also are the main worshiper. The parvaitin pray for the well-being of their family, for prosperity and offspring. They usually can perform Chhath only if it is passed on to them from their older generation. However, once they decide to do it, it becomes their duty to perform it every year, the festival being skipped only if there happens to be a death in the family that year.

On the eve of Chhath, houses are scrupulously cleaned and so are the surroundings. On the first day of the festival, the worshiper cooks a traditional vegetarian meal and offers it to the Sun God. This day is called Naha-Kha that is simply, 'Bathe and eat'. The worshiper allows herself/himself only one meal on this day from the preparation.

On the second day, a special ritual, called Kharna, is performed in the evening after Sun down. On this day also, the worshiper eats his/her only meal from the offerings that is called Prashad, is made to the Sun God in this ritual. Friends and family are invited to the household on this day to share the Prashad of the ritual. From this day onwards, for the next 36 hours, the worshiper goes on a fast without water.

The evening of the next day, the entire household accompanies the worshiper to a ritual bathing and worship of the Sun God, usually on the bank of a river or a common large water body. The occasion is almost a carnival. Besides the main worshiper, there are friends and family, and numerous participants and onlookers, all willing to help and receive the blessings of the worshipper. Ritual rendition of regional folk songs, carried on through oral transmission from mothers and mothers-in-law to daughters and daughters-in-law, are sung on this occasion. The same bathing ritual is repeated on the following day at the crack of dawn. This is when the worshipper breaks his/her fast and finishes the ritual. Chhath being celebrated at the crack of the dawn on a river bank is a beautiful, elating spiritual experience connecting the modern Indian to his ancient cultural roots.

Chhath is a very joyous and colorful festival. All the people dress up in their best clothes. Devotional folk songs are sung both at home and on the riverbank.

The Prasad includes sweets and fruit kept in small baskets made of bamboo. The food is strictly vegetarian and it is cooked without salt, onions or garlic. Emphasis on put on maintaining the purity of the food.

Rituals of Chhath Puja 

Day 1:- Nahai Khai (Bath & Eat)- The first day of the puja is known as Nahai Khai (Bath & Eat), the Vrati (devotees) take a bath preferably in sacred river Ganga and bring the holy water to cook offerings (Prasad) at home.

Day 2:- Kharna – A whole day fast (without water) is observed by the vratis (devotees). The vratis end their fast in the evening after performing puja. Offerings (Prasad) are comprises of Rasiao-kheer (rice delicacy), puris (deep-fried puffs of wheat flour) or chapatti and bananas - are distributed among family, friends and visitors.

Day 3:- Sandhya Arghya (Evening offering) – Devotees observe fast without consuming water. The whole day is spent in preparing puja offerings. All the offerings are kept in tray made up of bamboo. Offerings comprises of Thekua, coconut, banana and other seasonal fruits.

The evening ritual is performed at the banks of river or pond or any clean water body. All the devotees, family, friends and visitors assemble their and the agrahya is offered to the setting Sun.

‘Kosi’ – One of the most charming events during Chhath Puja known as ‘Kosi’ is celebrated at the courtyard of the house after evening offerings. Lightened earthen lamps (diyas) are kept beneath the covering of five sugarcane sticks or 24 sticks (as per local tradition).

The same event also takes place at the ghats in the early morning before morning offerings (arghyas).

Day 4:- Bihaniya Arghya (Morning offerings) – This is the last and final event of the auspicious puja, the devotees again with their family, friends and relatives assemble on the bank of river or pond to offer arghyas (offerings) to the rising Sun. After performing arghyas devotees break their fast. Ginger and Sugar are used by devotees to break their fast (as per local tradition).

This is the crucial part of the ritual. The whole night female family member spent in singing Chhath songs Like :

1. Kelawa jey farela ghawad sey… oh par sooga mandaraaye.....

2. Roonki jhunki beti maangila padhala pandita damaad hey Chhathi maiya.....

3. Paisee jagawe suruj mal ke amma.....

4. Saama khele chalaali… bhouji sang saheli ho.....

5. He uditanaatha…ho gelo bihaan.....

6. Bhaiya mora jaayela mahanga moonger.....

7. Kaachi kaachi baans ke bahangiya…bahangi lachkat jaye… Etc.

And cooking Prasad for the ‘Parvaitin’, who would break her fast after offering ‘Arghya’ to the Rising Sun in the morning. Everybody breaks their fast with the prasad distributed by the ‘Parvaitin’. It’s believed that the Prasad of Chhath is to be begged for and eaten—such is the sanctity of Chhath Puja. They say all your wishes come true if you beg for it to Chhathi Maiyya (The Goddes of Power) .