Sri Ramakrishna Paramhans stated Khardaha as Gupt-Vrindavan and quoted “Kalighat er Kali, Dakshineswar er Bhobhotarini ar khardaha r Shyamshundar jibanto”
Introduction
The earliest nomenclature of Khardaha is found as Khardwip (meaning island of straw). The history of Khardaha predates to 14th century. However, the region had its first municipality in 1869, thereafter in 1877 South Barrackpore and West Barrackpore municipalities were established of which Khardaha was a part. In 1920 South Barrackpore was renamed as Khardaha municipality. It is the place where Sri Rabindranath Tagore came by his Padma boat and stayed for 54 days in Shivali apartment. During his stay in Khardaha he composed many songs and poems one of which was “Bhagaban Tumi Yuge Yuge Doot Pathayecho Bare Bare”.
History of Khardaha
The history of Khardaha starts with a heart-wrenching separation of Nitai-Gour. Gourango Shri Chaitanya Mahaprabhu was the avatar of Sri Krishna and had emotions of Sri Radharani. While Nityananda Rama Prabhu was the avatar of Haldar Balram. Hence, the bond of Nitai-Gour were inseparable. However, when in Sri Kshetra (Puri) Sri Chaitanya asked Nityananda Prabhu to depart towards Bengal, get married and settle there to preach the Holy Harinam. While, Sri Chaitanya himself with the other six Goswami departed to Mathura-Vrindavan to preach the Harinam. Nityananda Prabhu after receiving instruction from Sri Chaitanya went to Ambika Kalna along with his associate Udharana Thakur, they arrived at the doorsteps of Suryadasa Sarkhel (who according to tradition was Maharaj Kakudmi in DwaparYuga). Suryadasa held a very important position in the service of Sultan of Gaur and hence, was awarded the title of Sarkhel (commander). Suryadasa had two daughters Shrimati Vasudha and Janhvi Devi (who were the incarnation of two wives of Balaram, Sri Varuni and Sri Revathi Devi). Sri Nityananda first wed Srimati Janhvi Devi, later Srimati Vasudha Devi was offered to him as a dowry. However, he honoured Sri Vasudha Devi by marrying her. Sri Nityananda had two children with Srimati Vasudha Devi, a son Birchandra Prabhu who was none other than the Kshirodakashyai Vishnu, manifested as the super Soul in all our hearts. While Maa Ganga descended as Gangamoni Devi, the daughter of Lord Nityananda.
According to tradition after his marriage Nityananda Prabhu had requested the local zamindar of Chanak (now Barrackpore) to kindly allot him a piece of land where he and his family could reside. The zamindar being then unaware of Lord Nityananda’s divinity rebuked him for abandoning his Sanyas and accepting two wives. The Zamindar at the time of conversation was fishing along with his friends on the banks of Ganga. He sarcastically replied to Nityananda Prabhu that if he really needed a piece of land to stay then he would have to create it out of the water, saying so the zamindar threw a piece of burning straw (Khar) into the Ganga. Basically, he refused Lord Nitai’s proposal and made fun of him in front of his friends. Nityananda Prabhu who always remained very humble did not mind the zamindar’s harsh words and assured him that whatever he had wished (though sarcastically) would come true. What happened next surprised all present there, a huge mass of land suddenly appeared from the water exactly at the same place where the burning piece of straw had hit it. This place subsequently came to be known as Khadaha (Khar meaning straw and daha meaning burnt). Lord Nitai set up his residence here the Transcendental House renowned all over the three worlds as KunjaVatika or Kunjabati.
Divine Leela of Birchandra Prabhu
The history of Shyamsundar Jiu Mandir is deeply rooted to the life and pastimes of Shri Birchandra Prabhu or Birbhadra Goswami. He was born on the 9th day of the dark fortnight in the holy month of Karthik (October-November) or the Damodar Maas. He was the son of Shree Nityananda Rama Prabhu and Vasudha Devi. Shrimati Janhvi Mata was his initiating spiritual master. Shri Birchandra was an expansion of the Supreme Lord himself and appeared in this world to assist his father in furthering the mission of Mahaprabhu Chaitanya. The divine appearance of Shri Birchandra Prabhu and his Leela with Shri Abhirama Gopala is narrated in the Abhirama Lilamrita. Shri Abhirama Gopal Thakur was one of the most prominent of the 12cowherd boys (Dwadasa Gopala). He was the disciple and intimate associate of Sri Nityananda Prabhu. If Abhirama Thakur bowed down to any person who was not the Lord or empowered by the Lord then that person would die immediately. Similarly, if he bowed before any stone that was not a Shaligram Sila then that stone would immediately crack. All the previous seven sons of Nityananda Prabhu had died because Abhirama Thakur had paid them his dandavats (obeisances). However, when Birchandra Prabhu appeared in this world Lord Nitai was very careful to not invite Shri Abhirama Thakur. However, Abhirama Gopala in a very innocent mood set out for Khardaha without any invitation to meet his dear friend and bless the newborn. When Abhirama Thakur finally arrived at Kunja Vatika, Nityananda Prabhu courteously embraced him and fed him sumptuously. Thereafter, inspite of Srimati Janhvi and Vasudha Devi’s pleas Abhirama bowed down again and paid his obeisances to little Birchandra. When he saw that no harm was caused to the little child, he became overjoyed and composed verses glorifying him “Ye na dekhecha gora, dekha ara bar, punarbar sei gora vira avatar” (One who has not witnessed the Supreme Lord Sri Chaitanya Prabhu now has the opportunity to behold him again as the same lord has now appeared as Shri Birchandra). Thus, Birchandra Prabhu had displayed the exalted symptoms of divinity since his very birth.
Shri Shyamsundar and the Jiu Mandir
Birbhadra Goswami was born at a time when Tantra Shastra and Buddhism were the two most popular religions in Bengal. On the will of Sri Chaitanya Mahaprabhu, he gathered Vaishnavites at Khardaha from different places of Bengal and started to perform sadhana (penance) at Kunjabati. The literary text Prema Vilasa states that Shree Birchandra Prabhu got the darshan of Shyam Sundar in his heart and hence, wanted to install a Krishna murti in Khardaha. He got to know about a special black basalt stone (Kashti Pathor) which was present in the palace of the Badshah of Gaur (the capital of Bengal Shahi). The stone had two stories some believe that Lord Krishna stood over the stone during the RajsuyaYajna of Dharmaraj Yudhisthir. While others believe that this was the same stone on which Kans the wicked maternal uncle of Sri Krishna had murdered the six children of Devaki. In accordance to both perspective the Sila or stone is around 5000 to 4000 years old. The stone held three different incarnations of Lord Krishna; Mohini Roop, Shyam Roop and Vatsalya Roop. Birchandra with the permission of his father Nityananda Prabhu united the Vaishnavites and went to Maldah along chanting the holy Hari Naam (Sankritan). The Sultan of Gaur greeted him with full honour. However, he had evil intentions and behind the façade actually plotted to break Birchandra’s vows by feeding him meat. However, when the Sultan attempted to serve him the non-veg dishes the food automatically got transferred into roses and jasmine. The Sultan ordered his chef to bring new items but again and again by the potency of Shree Birchandra the food got transferred into flowers. The Sultan finally realised that Birbhadra was no ordinary man. Feeling remorseful and guilty the Sultan fell at his Lotus feet and begged him for forgiveness. Birchandra being merciful forgave him and also cured the Sultan’s son of a terminal illness. Thus, the Sultan being grateful to Birchandra Prabhu gave the Sila (stone) to him. Birbhadra Goswami saw a dream were Lord Krishna told him “It is Impossible to carry the stone through the conventional boat route, so I will go flowing through the waves of River Ganga”. As per the instruction the stone was flown in the river and to everyone’s surprise it came floating up to Khardaha. The place or ghat where it was collected later came to be known as Shyam-er-ghat. Birbhadra with the help of Vaishnav sculptor Noyon made three Krishna Idols from the same stone. On the auspicious day of Maaghi Purnima the idols were established in their respective temples. Hence, on this day devotees crowd these three temples. The responsibility of the worship of Ballavji (Mohini Roop) was entrusted upon Rudraram of Ballavpur (now Serampore). While that of Nanda Dulal (Vatsalya Roop) was given to Lakshman Pandit of Swamivan (now Saibon Raj). After the idol of Shyamsundar (Shyam Roop) was prepared Shri Birchandra established it at the Sri Mandir at Kunjabati in Khardaha, which later came to be known as Radha Shyam Sundar Jiu Mandir. Achyutananda Ji, son of Advaita Acharya was the first one to perform the abhisheka of Shri Radha Shyam Sundarji.
Prominent Festivals
The most prominent festivals of Shyam Sundar Mandir are;
- Phul Dol – Where tonnes of flowers are brought to decorate the Garbhagriha and the idols.
- Jhoolanyatra – The swing festival of Radhakrishna.
- Janmashtami and Radha Ashtami are done with much grandeur and pompously.
- Shyamshyama or Kali Pooja – Where Shyam Sundar is dressed as Maa Kali, (the story goes that when Radha and Krishna were doing Ras, Radha’s husband Ayon a stoic Kali devotee suddenly approached them hence, to secure the honour of Radha, Sri Krishna turned himself into Krishna Kali).
- Govardhan Pooja or AnnaKut and Ghosto Lila or Gopashtami (the cow worship festival).
- Rash Yatra – The divine dance (Leela) that happens in the month of Karthik, where the idols of Radha Rani and Shyam Sundar Jiu are taken to the Rashmancha by pure marble palanquin on the shoulders of men.
- Dol Yatra – The festival of Holi or Dol (in Bengal), the idols of Radharani Shyamsundar Jiu are taken to the Dolmancha by a wooden palanquin.
Architecture
The Radharani Shyam Sundar shrine can be divided into 3 architectural altars;
The Main Shrine or Aat-Chala Mandir – The Aat-Chala (eight-roofed) Jiu mandir has the specific Bengali hatched roof style. The hatched roof or Chala style in Bengal is predominant from the times of Mauryan rulers. It was mainly inspired from the Mauryan granaries or the leaf hatched structures of Gandhara bas reliefs. To build the Aat-Chala structure first the Char-Chala or four-roofed structure is built on a square base and if a miniature duplicate is built onto the roof of the temple, then it is called Aat-Chala.
The Rashmancha – The Pinnacle style or Ratna design Rashmancha is made of Steatite stone having pure white colour. It is done in a 13 style Ratna design and has an octagonal anomalous ground plan. The turrets here are placed in a unique way which can be attributed to neo-classical or gothic style of architecture. It can be understood through the architectural style of the Rashmancha that it must have been built between the late19th and early 20th century.
Dolmancha – The terracotta brick structure Dholmancha is made of burnt bricks and has a typical red or earthy hue. It has many different motifs attributed to the Vaishnava sect, carved throughout the temple premise. The Dolmancha is built on the structural principle of Char-chala or four-roofed architectural style.
The current shrine or temple has been renovated by P.C. Robertson, manager of Khardaha Jute Mills.
Conclusion
By the end of 16th century, a uniquely Bengali style of temple architecture and sculpture had established itself as the Hindu artistic expression of the new social, religious and cultural revolution. The temples were closely related to the popular cultural idiom as expressed in cult affiliations, vernacular forms and illustrations of religious texts and were never divorced from developments in contemporary society. Furthermore, the depiction of prose and everyday life in temple decoration reflected aspects of contemporary society, particularly the ambition of temple patrons.
Author Priyanshu Banerjee is second-year Undergraduate student studying in Jadavpur University. He is studying for Bachelors in History Honours. He is passionate about analysing the aesthetics of different regional temples and mansions. His aesthetic analysis includes Literary narratives, artworks (paintings, murals or sculptures), jewellery designs, architecture, finery, colour and draping techniques. Co-Author Archana Banerjee is his grandmother. She has an immense knowledge on religious texts and how they blend into our regional culture. She has helped the author in dealing with the primary sources (mainly text and stone plate inscriptions) of the article which are mainly available in Bengali.