The main carpenters and artisan group responsible for making the chariots are known as Viswakarma Sevakas. The carpenters and artisans belong to the family of hereditary carpenters and they have been doing the job for centuries. The making of the chariot involves a large number of artisans and workers with a variety of special skills. Each group makes specific parts of the chariots. Each group of workers is known as nijoga. The main groups of carpenters and artisans are
Badhei Maharanas – The main construction of the chariot is done by this group of carpenters. This main group includes certain subcategories based on their specialized skills and roles.
Gunakara – This group provides various measurements and standards for the Rath.
Pahi Maharanas – This group fixes the wheels of the chariots.
Kamara Kanta Nayakas (Ojha Maharanas) – This group is of the ironsmiths who prepare nails, pins, clamps, iron rings fixed inside axles used as the outer covering of the wooden wheels.
Chandakaras – This group carries components of major parts and helps in assembling and fixing them.
Rupakaras – This group carves images and shapes in wood for decorating the chariots.
Murtikaras – These are sculptors and they create various sculptures in the wood on the chariot. Ashta Manjari or eight female companions fitted on the parapet of each chariot is prepared by them.
Chitrakaras (Painters and artists) – This group makes lines, drawings, and paints the hariots.. They also paint the body parts of the sculptors and images.
Suchikaras (Daraji Sevakas) – This is a group of tailors who prepare covers, cloth mantles, small canopies, flags, and pennants. This group also beautifies the clothes with appliqué work and other designs.
Ratha Bhois – This group is led by the Bhoi Sardar and they consist of hardworking laborers who help the skilled artisans in their work. Apart from this, numerous other artisans are engaged in making the chariots.
Lord Jagannath’s: chariot is called as Nandighosha. This chariot is one of the tallest and grandest. It has a a height of 44′ 2″ and length and breadth of 34’6″ x 34’6″. There are 16 wheels attached to this Rath and it utilizes 832 wooden pieces. Bright red and yellow canopies are attached to the chariot featuring the famous applique work of Pipli. Garuda is the guardian of the chariot and Daruka is the charioteer. There are 4 white horses attached to the Rath, these are- Shankha, Balahaka, Suweta and Haridashwa.
Lord Balabhadra’s: chariot is known as, ‘Taladhwaja.’ This chariot has a height of 43′ 3″ and length and breadth of 33′ x 33′. It has a total of 14 wheels and 763 wooden pieces used in its creation. Red and blueish-green canopies are attached to the chariot featuring the famous applique work of Pipli. Vasudev is the guardian and Matali is the charioteer. A palm tree is also placed onto the chariot. There are 4 black horses attached to the rath, these are- Tribra, Ghora, Dirghasharma and Swornanava.
Goddess Subhadra’s: chariot is known as, ‘Darpadalana.’ This chariot has a height of 42′ 3″ and length and breadth of 31’6″ x 31’6″. It has a total of 12 wheels and 593 wooden pieces are used in its construction. Red and black canopies are attached to the chariot featuring the famous applique work of Pipli. There are 4 red horses attached to the rath, these are – Rochika, Mochika, Jita and Aparajita.
Every Rath has 2 gatekeepers, one accompanying deity and 9 parshvadevata or subsidiary deities. What leaves the devotees awestruck and mesmerised at first glance is the decoration of the Rath. Every single part of the Rath is splashed with strokes of colour and patterns. The cloths with the applique work feature various patterns and motifs. These motifs feature floral patterns, greenery and other mythical designs like Rahu and Chandra.
The wood is carved with designs inspired by Odisha temple architecture. The frames and wheels of the chariots are also colourfully painted with traditional designs. Moreover, several flower garlands are also placed at the front of the Raths. The two brothers, Balabhadra and Jagannatha are decorated with large, elaborate floral decorations called ‘tahia’. These are like huge crowns or tiaras fixed at the back of their heads. These are made of various white, orange and lotus flowers, leaves and pieces of cork that are then fixed to a semi-circular heart shaped bamboo frame. Chumki flowers are also added to the chariots in order to enhance their beauty and magnificence.
Each chariot also has a crest banner and is tied with 4 ropes made of coconut fibres at the front part of the chariot.The intricacies in the designs of all three chariots showcase how socially and culturally significant these Raths are. It also displays the diligence of the craftsmen and their attention to the smallest of details. Every single portion of these Raths is designed and created with utmost love, devotion and precision.
Several mentions of Raths have also been found in Hindu scriptures-
Katha Upanishad (1/3/3-4) – the Body Rath Yama, the Lord of Hell reveals to young Natchiketa the Rath with which one can attain
Brahma-vidya – knowledge of Brahman.
“Atmanam rathinam viddhi shareeram rathameva tu,
Buddhim tu sarathim viddhi manaha pragrahameva tu.
Indriyani hayanyahur vishayansteshu gocharan,”
Ramayana – The Samsara Rath
Lord Ramachandra describes his chariot to Vibhishan, with which he is always victorious. Courage and tenacity are its wheels, Immutable truth and character are its flags, Strength, discrimination, self-control and charity are its horses, Forgiveness, mercy and equanimity are the reins, and Devotion to the Lord is its Sarathi. With such a chariot one can surely traverse Samsara.
Mahabharat - The Life Rath
Shri Krishna says in the Gita (18/78) that, where there is Krishna and Arjuna, there’s wealth, victory, power and immutable morality. This was borne out during the battle when the mighty warrior Bhishma vowed to kill Arjuna on the tenth day. Lord Krishna anxiously searched for Arjuna and found him asleep. Bewildered, Lord Krishna asked him how he could sleep with such a pledge looming over his life. To his astonishment Arjuna answered, “Because you are awake!”
The ultimate essence of the myths and stories surrounding the raths is that the ‘Jiva’ should unwarrantedly surrender to the supreme Sarathi, that is God or the God-realised Sadhu, if he/she wishes to successfully traverse the yatra of life, ‘Samsara.’
The observance of the Rath Yatra of Jagannath dates back to the period of the Puranas. Vivid descriptions of this festival are found in Brahma Purana, Padma Purana, and Skanda Purana. Kapila Samhita also refers to Rath Yatra. In Mughal period also, King Ramsingh of Jaipur, Rajasthan has been described as organizing the Rath Jatra in the 18th Century. In Odisha, Kings of Mayurbhanj and Parlakhemundi organized the Rath Jatra which was the grandest festival in terms of scale and popularity that took place at Puri.
Moreover, Starza notes that the ruling Ganga dynasty instituted the Rath Jatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. In its essence, the festival commemorates Jagannath’s annual visit to Gundicha Temple via Mausi Maa Temple (maternal aunt’s home) near Saradha Bali, Puri.
As part of Ratha Yatra, the deities Lord Jagannath, his elder brother Lord Balabhadra and younger sister Devi Subhadra, along with Sudarshan, are taken out in a procession out of the main shrine of Jagannath Temple and placed in the Ratha (Chariot) which are ready in front of the Temple. This process is called as ‘Pahandi’. The procession starts with ‘Madan Mohan’ then ‘Sudarshana’ Balabhadra, Subhadra, and Jagannath Deva. After that, Gajapati Maharaja, the king of Puri, who is also known as the first servitor of the Lords, does ‘Chhera Pahanra’ (the holy cleaning of the chariots). Finally, the devotees pull the chariots up to the Gundicha Temple, which is also known as the birthplace of the Lord.
Jai Shri Jagannath Mahaprabhu
Authored by Anadi Sahoo
