Author - S.S. Toshkhani
ISBN - 978-81-8274-475-2
Year - 2010
Price - Rs. 1500.00
Binding - Hardback
On Jan. 29, Prakash, a cultural organization floated by Panun Kashmir
organized a programme in Jammu to introduce the book. On this occasion
the author read out a write-up about the book as presented below.
A Perspectival
Look at the 'Rites and Rituals of Kashmiri Brahmins'
S .S.
Toshkhani
Passionately
drawn towards exploring aspects of Kashmir’s cultural and
intellectual traditions though I was from the beginning, I was not
particularly inclined towards venturing into an area like rituals and rites.
Rituals, I must confess, were anathema to me as I considered them to be
nothing more than superfluous outer ceremony which had nothing or little to do
with religious life in the deeper sense. So
when UNESCO scholar, Prof. B. N. Saraswati chose the subject of rituals and
ritual arts of Kashmiri Hindus for me to work on as a research project for the
Janapada Sampada department of IGNCA during a brief meeting I had with him in
early 2002, I
did not know what to say. He was heading that department at that time and was
a social anthropologist of eminence. Rituals,
he explained noticing my discomfiture, were one of the bonds that existed
between the Hindu community of Kashmir and the cultural life of Hindus of the
country at large, and should not be understood in a narrow sense. They give
you a sense of identity. I saw his point, but how to proceed on a subject you
have been holding in contempt all your life.
Kashmir
was sort of out of bonds for any scholarly work of the nature I had been
assigned to take up. And mass exodus of Kashmiri Pandits from there in wake of
terrorist violence had complicated things. They had been uprooted and were in
a state of dispersal. How could I witness a Hindu ritual performance in its
traditional form outside their eco-cultural habitat? I
knew that scholars from different parts of the world had been showing a
growing interest in the study of Hindu, and particularly Vedic, ritual. But
nobody had taken up Kashmiri Hindu religious activity as a separate field of
scholastic inquiry. This was perhaps because they could not see any
perceptible difference between the ritual system they had adopted and that
which Hindus in general followed. The pan-Indian elements were all there, but
there were also some remarkable variations and modifications because of deshāchāra
which could not be ignored.Characteristically Kashmiri
ritual system had elements which had to be identified and analysed while dwelling on the commonalities. Hardly
anything systematic had been done in this direction by the religious historian
and social anthropologist, Indian or Western.
As
I decided to start my study in right earnest, I understood if had to work on
regional peculiarities of the ritual traditions and practices of the Kashmiri
Brahmins, I had to comprehend the “formative consciousness” and
epistemological matrixes from which they had sprung. I had to forge my own
methodological and conceptual tools, I thought, and that meant adopting an
approach involving study of related textual material as well as field work.
This called for having discussions with available ritual experts and resource
persons and there were hardly any around either in Delhi or in Jammu for any
worthwhile discussions about regional peculiarities regional peculiarities of
the ritual traditions and practices of the Kashmiri Brahmins. The last of the
greatest amongst them Pandit Raghunath Kulkiloo had passed away some years
ago, but Pandit Kashinath Handoo was there. The related texts too had to be
obtained.I
sought the help of Prof. Bansi Lal Fotedar and it was he who came to my
rescue. Interviews with Pandit Handoo and some other scholars who were still
in the field were arranged. That proved of some help, at least I was able to
clear doubts on some points about which I was yet vague in my mind. Not a real
breakthrough though as many who were thought to be knowledgeable about things
did not exactly prove to be so. Just
at that time I read Fritz Staal, a German expert on Vedic fire ritual and
found him saying that ”Asian rituals are rituals without a religion”,
creating doubts about meaning of ritual itself. “Rites become religious”
he has written, “when they are provided with religious interpretation”.At the same time he has emphasised that ritual traditions have social
significance in that they identify groups and distinguish them from each
other. It now became necessary to arrive at a basic line of approach to the
question of what actually constituted Hindu religious ritual and what could be
defined as variation and deviation at the regional level. Did rituals really
have any meaningand
how did they help in defining identity?
I
noted in this context that Richard H. Davis, another eminent Western scholar,
but of medieval Shaiva ritual, is highly critical of such scholars who tend to
“characteristically present Indian rituals as instances of highly elaborate
routinized behaviour, ignoring the philosophical foundations on which they are
based”.A
focus now emerged for my study and I found it found it possible to move ahead.
In the new light in which I began see my subject now I came to understand
rituals as established patterns of religious activity embedded in the cultural
consciousness of a people, even as they seek to link mundane or natural
reality with the divine or trans-natural. They combine in their structure
mental, physical and verbal actions which achieve a symbolical character
giving the whole a meaning and significance through “invocation of the
sacred and the transcendent” beyond what any natural process can give it.As Prof. Daya Krishna has pointed out, rituals transform the biological
cycle into a cultural cycle. That is why, he explains, “... In all cultures
birth and death are not just biological phenomena but profound cultural events
associated with a lot of ritual and ceremonies which transform the biological
into the cultural”.The ritual processes that set into motion this transformation of the
natural or causal are closely related to the attitude of a civilization to
time and space and their sacralisation and symbolization.
Viewing
things in the Indian context it can be said about rites or rituals that they
are intertwined throughout with human life and human activity, beginning with
the birth of an individual or even earlier with conception, and continuing
through crucial stages of his or her life up to his or her death.
Collectively, they are called samskāras.Apart from these passage of time or life- cycle rituals, there
are ceremonies related to different forms of worship in which the blessings of
gods / goddesses are invoked for fulfillment of worldly desires or for
spiritual enlightenment.These worship rituals, commonly known as
pūjā
may externally vary in some respects from place to place or in different
social milieus, but they have the same basic internal structure.
Whether
seen as encoded processes of change or expressions of reverence for the
sacred, the fundamental ritual activities prevalent among Kashmiri Hindus, as
among other Hindu communities of the country, can be broadly classified under
the following heads:(1)
Samskāras
or life-cycle (passage of time) rituals and other domestic ceremonies, (2)
Pūjā
or worship services, (3) Tantric practices and (4) Ritual arts. Eminent ritual
expert Jayant Burdehas
divided religious rituals into these four categories: worship rituals, rites
of passage, festive rituals and sacraments. According to Nusahi Tachikawa and
Shaon Hino, religious activity can be divided into two kinds: (1) That which
takes as its goal the spiritual well-being of the individual, and (2) that
which has the purpose of enabling the group or the society to operate smoothly
(festivals, initiation rites etc.). Following
these two noted Japanese scholars of Indian rituals, it was the study of samskāras
or life-cycle rituals of Kashmiri Hindus that I took up first, as these for
the common people form the core of religious activity, and then the pūjā
rituals. In both cases, as I noted, rituals serve as means of communicating
with divine beings or trans-natural powers that are believed to guide and
influence the course of human actions.While benevolent and favourable influences are sought to be attracted
and appeased, as Dr. Rajbali Pandey has pointed out, ritual devices are used
to ward off or banish harmful and hostile influences (evil and uncanny spirits,
goblins, demons etc.), often by invoking the help of deities and gods. In
fact, ritual practices all over the world follow a similar pattern –
purification, banishment, propitiation and consecration.
After
these general characteristics that rituals display, I went on to describe the
constituent elements of the rites and rituals of Kashmiri Hindus in accordance
with the analysis provided by the pioneering expert of Hindu samskāras,
Dr. Rajbali Pandey. Agni
or fire is the first and most sacred of these components, an dis being
worshipped as the presiding deity of sacrifices and domestic rites and
ceremonies since the Vedic times -- agnim īde purohitam.
Fire purifies,
consecrates and acts as a protector and witness to human intent. Offerings are
made into fire and through it to the gods in almost every ritual performance.
Kashmiris burn bdellium and sesame seeds in a kāngrī
during weddings and other ceremonies for auspiciousness and to banish evil
spirits.Water,
a symbol of life itself, is the next important constituent for its purifying
effects and powers to remove contamination. Bathing, especially in sacred
rivers, sipping water (āchamana),
and lustration or sprinkling of water are believed to be means of removing
physical as well as spiritual impurities.
Prayers,
appeals and blessings are another class of constituents that can be placed
next on the list.Prayer,
says the eminent philosopher Prof. Daya Krishna, “seeks the intervention of
the transcendent in the normal processes that are supposed to be governed by
causality”. Prayers for success, health, long life, happiness, obtaining
children, material prosperity, spiritual salvation etc. are a common feature
of Kashmiri Hindu rituals, as also seeking of blessings of gods, elders,
preceptors and teachers, spiritual personalities etc.
Offering
sacrificial food and presents to propitiate and please gods and supernatural
beings is another major constituent of rituals including those performed by
Kashmiri Hindus.Special
occasions and festivals have been set apart in sacred texts to invite, placate
and feast them in the hope of obtaining their favours.As we know, apart from oblations of barley, rice, sesame seeds, dried
fruits, molasses, sugar candy, clarified butter or ghee, milk etc. at yajñas
and havans, the most common food offering to gods made by Kashmiri
Hindus is tāhrī
or rice flavoured with turmeric powder and ghee or oil.Sacrificial food like khicharī
and fish and rice is offered to appease Kubera, the Lord of Yakshas and the Grihadevatā(Kashmiri
gardivtā)
or the Deity of the House, while meat offerings are made to deities like
Bhairava, Kālī,
Jwālā,
and Tripurā.Lambs are also slaughtered to please certain deities with animal
sacrifice, though such practices have now become rare.
Like
their co-religionists elsewhere in the country, Kashmiri Hindus attach great
significance to orientation or direction the performer should take while
performing a ritual act.Direction of movement in domestic and other rituals is clearly
specified in the religious texts they follow. Citing Gobhila’s
Grihyasūtra,
Veena Dass observes:“...The right side has precedence over the left in rituals to mark
the passage of time, as in the morning and evening oblations to be made to the
fire on the advent of the new moon and full moon”. She further writes:
“Similarly, in all rites of transition except death the use of the right
side is prescribed.”The opposition between right and left, she explains, “is clearly
associated with ‘rites to gods’ and ‘rites to ancestors’, the former
being associated with propitiation of divine beings who are friendly and
benevolent, the latter being associated with those supernatural beings who
have to be appeased, who inspire terror and have the potential of causing
great harm if they are not regularly propitiated.” This applies fully to the
domestic rites of Kashmiri Hindus as well, though they follow the directions
given in different texts. Following Indian mythology, they too consider south
to be the direction of Yama, the god of Death, and hence inauspicious. In all
rites performed by them the subject faces the east, which is associated with
light and warmth, and therefore “happiness and glory”.
Observance
of taboos on is yet another feature that marks the ritual behaviour of Hindus
of Kashmir. These are associated with circumstances like pregnancy,
childbirth, adolescence, marriage and death and are related to purity and
impurity (shauch-ashauch, auspicious-inauspicious (shubha-ashubha) or else to warding off evil influences and the evil
eye and other possible dangers.Then there are taboos associated with certain months or days which are
believed to be inauspicious and when certain things should not be done.There are also minor taboos connected with food which are followed
mainly from protecting a person from evil influence or impurity which may be
physical, moral or spiritual. Fasting, abstaining from taking non-vegetarian
food on particular days or occasions and notions of purity and impurity in
cooking, prohibition or prescription of particular type of food – these are
also included in the kind of taboos that the so-called orthodox among Kashmiri
Pandits observe.
Divinatory
methods, based on the belief that gods indicate what is to come in the future
through the medium of natural phenomena and other agencies, too have an
important place in the pattern of ritualistic behaviour of the Kashmiri
Pandits.Besides
liturgical utterances and acts, gods are sought to be pleased in their rituals
through song and dance which are believed to evoke generosity and benevolence
from them in the form of material prosperity, success and protection from
misfortunes as well as for bringing in auspiciousness.
After
these general observations, arose the question of accessing the particular
ritual texts which provide the parameters for the Kashmiri Hindus to follow in
their ritualistic behaviour. Foremost among these is the Grihyasūtra
of Laugakshi. I had heard about Laugakshi but his name was only a faint echo
in my ears. He had written his Grihyasūtra
for adherents of the Kāthaka
school of Krishna Yajurveda to which Kashmiri Brahmins belong.But to obtain an insight into its ordainments also to know to what
extent they were practically followed by the Pandits required that the text be
studied seriously. Though listed among the important grihyasūtras,
the Laugakshi Grihyasūtra
is not a much commented upon text. I
learnt, the rules and regulations laid down by Laugakshi Muni alone are
regarded by the Kashmir Pandits as the true norm and source of their āchāra,
no other grihyasūtra
being used in Kashmir for guidance in performance of rituals and rites. Can
anyone beat it --the Pandits follow Laugakshi’s ordainments but know nothing
about him or about the Kāthaka
school to which they belong. To excavate the facts I buried myself in
Laugakshi’s text, photocopies of which were very kindly provided to me by
well known scholar and author Dr. Rames Taimiri. For this I shall ever remain
thankful to him. I
managed to make some headway, but
there was a
whole host of grihyasūtras
followed in India -- those written by Āshvalāyana,
Gobhila, Āpastamba,
Pāraskara,
Hiranyakeshī,
Mānava for instance. I had to
acquaint myself about them too and their peculiarities for a proper
understanding of Laugakshi’s text and context. It was a stupendous task but
all the same important to undertake as no Western or Indian scholar had cred
to render it into English nor an Indian language with the exceptionof W.
Caland who has written some notes and comments on it in English.
When
exactly did Laugakshi live and when did the vast grihyasūtra
literature came to be composed? Scholars
as usual do not agree, but if Veena Das is to be believed, the grihyasūtra
litertature was composed sometime between c. 500 – 200 BCE, and that is the
date we can ascribe to our Laugakshi also. The
Vedic elements with which his Grihyasūtras
are replete seem to confirm this.The text of the Grihyasūtra
was brought out in two volumes under the Kashmir Sanskrit Texts Series by
Jammu and Kashmir Research and Publications Department in 1928 and 1934
respectively. It was critically edited by Pandit Madhusudan Kaul Shastri who
wrote a very valauble Introduction to the first volume giving preliminary
information about the work, the author and the commentator Devpala. Pandit
madhusudan Kaul had promised to write a detailed introduction to the second
volume as well
but did not do so. According to him Aditya Darshana wrote a vivarna
on it while the Paddhati was written
by Brahmanbala and bhāshyam
by Devapala.Devapala’s
commentary, Pandit Madhusudan Kaul tells us, has been incorporated in the text
but in a way that it is difficult to distinguish between the two. The Italian
scholar Dr. Caland had also critically edited Laugakshi’s Grihyasūtras
with extracts from the three commentaries and addition of appendixes and
indexes. I found the commentary useful at places but I also took the help of Shatpatha Brāhmana
and several other primary and secondary sources to have a better understanding
of things.
But
while the rites and rituals of Kashmiri Brahmins are primarily anchored in the
Laugakshi Grihyasūtra,
there are also various phases through which they have passed in terms of their
historical development as reflected in other sources of inquiry like the
Nilamata Purana and Bhringisha Samhita.And if Laugakshi’s Grihyasutra form the Vedic substratum of the
ritual system of the Kashmiri Hindus, the latter texts represent a stage when
this substratum was overlaid by elements of Puranic and Tantric modes of
worship. By the time of the Nilamata Purana, a 6th century text
which gives Kashmir’s own creation myth, the Vedic fire sacrifice (yajña)
was replaced by practices like vrata (observance of religious vows), dāna
(charity), japa (repetition of the
deity’s name), utsava (festivals),
tīrthayātrā(pilgrimage),
pūjā
(individual or collective worship of iconic deities), upavāsa
(fasts) etc. A
significant feature of religion in the Nilamata era was the emergence of a
whole new pantheon of gods and goddesses, mostly of local origin, who could be
invoked through their anthropomorphic images.Thus, besides the worship of the five major Puranic deities, viz.
Brahma, Vishnu, Shiva, Durga, Ganesha in their various manifestations and
Surya the Sun god, the Nāga
deities, the deities of the Pañcharātra
and the Bhāgvata
cults, Kubera, evenBuddha,
Vitasta and many other river goddesses anddeities of local origin found their place in the religious belief
system.
The
ever joyful and sportive people of the era who tried to live in perfect
harmony with the beautiful natural environs of the Valley, celebrating
festivals galore. In
spite of a religious veneer, many of their festivals ike Krishyārambha,
Yāvagrāyana,
Navānna-vidhāna,
Shyāmādevī Pūjana,
Irāmañjarī
Pūjā,
Navasamavatsara Mahotsava, Navahimāpātotsava
and the vratas of Uttarāyana
and Dakshināyana
were actually related to agriculture and the cycle of seasons.Some of these festivals such as the
Navasamvatsara Mahotsava (Navareh)
and Navahimapātaostsava
(Navashīn)
continue to be celebrated to this day.Festivals like IrāmañjarīPūjana
and Shrāvanī Utsava
show the kind of catholic and liberal values the society of the times
cherished and the freedom that women enjoyed. On the Irāmañjarī
Pūjana,
men and women were urged to visit gardens and parks and adorn each other with
garlands of the Irāmañjarī
flowers, while on the Shrāvanī
festival young maidens are asked to enjoy water sports. Sukhasaptikā,
which was perhaps the same as Diwali, was a festival dedicated to Kāmadeva,
the god of Love.
Nilamata
also describes in detail a number of places of ancient pilgrimage, mentioning
their legends and significance.These include Amareshwara or Amarnath, Kapalamochana and other tirthas
which continue to be places of pilgrimage even now.Nilamta is not ritual text as such, but a lot of information about
rituals performed in that age can be gleaned from it. There is also a clear
thrust towards folk religious practices in this personal purāna
of Kashmiri Hindus.
More
valuable from the ritualistic point of view is the Bhringīsha
Samhitā
which incorporates various tīrtha
mahātmyas or glorification of sacred sites and sheds valuable light
on the sacred geography of Kashmir. Though the exact date of the Samhitā
is difficult to detrermine, Dr. Yashpal Khajuria, who has edited its Shri
Ranbir Singh Research Institute edition, is of the view that it must have been
composed sometime between the 5th century and 12th
century of the Vikrami Era, though it is also possible that some portions of
it may have been incorporated much later. The name of the sage Bhringisha, to
whom it is ascribed, is associated with ancient sages like Kashyapa and
Shandilya.The
text marks for the first time the dominance of Shaivāgamic and Shākta
cults in the religious life of the Kashmiris as reflected in the its
glorification ofthe
sacred sites dedicated to various deities worshipped in Kashmir. Beginning
with Tulmul, where the famous shrine dedicated to Mahārājñī,
popularly pronounced as Mahārāgñyā, or Khīr Bhavānī
is located, the Bhringīsha Samhitā (BS) goes on to describe the
significance of the shrines of Sharikā, Jwālā, Jyeshthā,
Shāradā and other manifestations of the Mother Goddess together with
their legends, mantras, hymns, and modes of worship. What assumes great
importance in this context is that some scholars are trying to deny any
antiquity to two of the most popular local goddesses Rāgñyā and
Sharika, in particular the former who they argue came into existence only
recently.How
did the worship of a “Vaishnavite” goddess who is offered only vegetarian
offerings like milk, sugar candy, khīr
etc. come to gain such tremendous popularity among by Kashmiri Pandits
after the advent of Dogra rule only, they ask. Claiming
that she is a creation of the Dogra rulers who were followers of Vishnu by
faith, and therefore vegetarian, they argue that a vegetarian goddess is
incompatible with the traditions of Tantric Kashmir and cannot otherwise be
explained except an anachronism.They also refer to the legend given in the Samhitā in the section
titled Shrī Rājñī Prādurbhāva about the goddess
having been brought from Lanka by Hanumana to prove their point. An example of
such logic can be seen in the recently published book ‘A Goddess is Born:
The Emergence of Khir Bhawani in Kashmir’ written by Madhu Bazaz Wangu. What
such scholars forget, and they include T. N. Madan, a sociologist of
international repute, is that there are several historical references to
Tulmul as a place of pilgrimage, besides the fact that it was the well-known
mystic saint Krishna Joo Kar, a great devotee of the Mother Goddess, who
rediscovered and demarcated the area of the sacred spring in which the image
of the goddess is installed and lived in the 17th century in the
time of Aurangzeb. The present temple was constructed there
no doubt by Maharaja Pratap Singh in the year1920, but before that a 10th
century idol stood there under a mulberry tree which was in place there when
Swami Vivekannada made a pilgrimage to the shrine in1898. (It may be noted
that the word tul in Kashmiri means mulberry.)These scholars also fail to note that Bhavani means the consort
of Bhava, a name of Shiva and that she is represented with all the iconography
of Durga. Furthermore,
devotion to Vishnu was an equally dominant feature of Kashmiri religious life
along with Shaivism and Shaktism.The Nilamata Purana shows a clear tilt towards Vaishnavism and scholars
say that cults like the Pañcharātra had taken their birth there. Apart
from that, amalgamation of two goddesses into one can be seen in Sharada, the
goddess of speech and learning, also who is shown seated on a lion indicatingSaraswati and Durgā merging into one.
The
glorification of the shrine of Shārikā Parrvata (modern Hari Parbat)
is described in much greater detail in BS, covering six pātalas
or sections. Linking
it with the creation myth of Kashmir, the sacred text narrates how the Great
Goddess Durgā herself took the form of a shārikā
or starling to deliver the land from the terror of the demon Baka and crushed
him under a peak of Mount Sumeru which she was carrying as a pebble in her
beak, BS also tells us about the various deities that occupy various places
along the entire periphery of the sacred hill. It is through the Samhitā
we come to know that the Goddess Sharikā is to be worshipped in the form
of a natural Shrīchakra
inscribed on the main rock that represents her and that this rock is to be
smeared with vermilion and ghee. It also describes the offerings that are to
be made to her on different days of the week and ways for circumambulation of
the sacred hill.The
dhyāna shloka of the goddess
given in BS shows Sharikā carrying among other things a ploughshare in
one of her eighteen hands which Durgā.Does this indicate that she was originally an agricultural goddess who
was later identified with Durgā herself.
Among
the numerous other sacred sites of Kashmir whosespiritual significance BS celebrates are Amarnath and the sacred stops
that fall en route, Harmukh and Gangabal, Kapalmochan, Martanda, Pushkara,
Sangam etc.The
rituals and ceremonies associated with them represent a period in the
religious history of Kashmir when the temple and places of pilgrimage had
become centres of group religious activities for Hindus.An interesting feature of the work is that quite a number of the
pilgrimage places of Kashmir it describes are named after well-known Hindu
pilgrimage centres of India like Ganga, Godavari, Prayag, Kurukshetra, Pushkar
etc.This is
so not just because the tīrthas
in mainland India were inaccessible in the winters to the common man because
of excessive snowfall, but because of the deep reverence for these centres in
the Kashmiri Hindu psyche. That is perhaps the reason that almost every sacred
river is given the appellation of Ganga by them – Dūdh Gangā, Nila
Gangā, Kishengangā, etc. Another
important aspect that I have highlighted is that in the local sacred texts
like Nilamata Purana and BS we find chanting of Vedic mantras juxtaposed with
Puranic hymns and Tantric mantras and ritual practices. This makes it obvious
that while the Vedic elements continued to play an anchoring role, Puranic and
Tantric liturgy had come to be regarded as the established norm in the
ritualistic behaviour of Kashniri Hindus. In fact the juxtaposition of all the
three elements continues to constitute the core of their religious life down
to the present times. This shows Kashmiri hindu rituals having a three tiered
structure – Vedic, Puranic and Tantri.c
Apart
from the glorification of places of pilgrimage, significance of important
festivals and celebrations of Kashmiri Hindus, like Shivarātri,
Navavarshotsava or Navreh and a number of other religious celebrations with their
exclusively Kashmiri features
l also forms a substantial part of the BS. About these I will discuss a little
later, but suffice it to say here that this raises the question of the
essential nature of these festivals underlining as it does that festivals and yātrās
are related to civilizational memory. The celebration of “foundational
festivals” can be seen as enactment and re-enactment of cultural events
supposed to have occurred in the remote past.They are related to civilizational memory and, as Prof. Daya Krishna
has pointed out, are internalized to “such a degree that a person finds his
identity in participating in them” and even feels “that a very important
part of himself would be missing if he does not do so”.While the cycle of festivals points to their relationship with
civilizational memory in time, the notion of pilgrimages to places deemed to
be sacred is linked with “the spread of memory to space”.This notion of a journey to these places that an individual would like
to undertake sometime, as Prof. Daya Krishna points out, consists of the
feeling that by doing so “he becomes a part of something larger than himself
and through which he achieves a personal identity at a deeper level of his
being”.
I
also consider it necessary to mention here that Tantric modes of worship and
ritual practicesof
esoteric cults came to occupy the centre-stage in the religion practiced in
Kashmir from the 7th century onwards and with an extensive body of
sacred texts, known as the Bhairava Tantras, exerted a pervading influence on
the Kashmiri Hindu mind. These included the Rudra Yāmala Tantra, MaIini
Vijaya Tantra, Svachchanda Tantra, Netrta Tantra, MrigendraTantra, Vamakeshvara Tantra and Yogini Tantra among various others. The
schools of Agamic Shaivism like Krama, Kula and Trika gained fast popularity
and a dominant position when in the 10th – 11th
century the great Abhinavagupta synthesized them under one exegetical scheme
as monistic Shaivism in his monumental work, the Tantraloka, interiorizing
their rites and rituals.According to Navjivan Rastogi it is the most comprehensive and
important single source of information about the various aspects of Shaiva
ritual with mantra,
mudrā, nyāsa, mandala, dīkshā,
charyā, upāsanā
and yāga as its constituents.It also deals with the nitya karma or daily rites and naimittika
karma or occasional rites as also with antyeshti
or funerary rites and shrāddha
or post- funerary rites which are performed by the little known sect of Shivakarmī.
The latter are actually practitioners of rituals of non-dual Shaivism of
Kashmir. These rituals are very lengthy, elaborate and complicated, consisting
of a series of pūjās, nyāsas, mudrās,
mandalas, yāgas, homas and
mantric devices. For
the Shiavakarmīs, Shiva alone issupreme and is to be worshipped along
with deities of Shiva Brahmānda
or the Cosmos of Shiva. In their funerary rites the performer of the rites
strikes at the head of the deceased with a jñāna
khadga or Sword of knowledge made of thirty-six blades of grass
corresponding to the thirty-six tattvas
of Shaiva cosmology. I have given full details of Shivakarma
antyeshti rites in the book. However,
many rituals mentioned in the Kashmiri Tantric texts are lost and there is no
track of them.
The
Vaishnavite Tantric cult of Pañcharātra with its own elaborate system of
rituals must have also left an impact on the ritual behaviour of of Kashmiri
Hindus. The cult is believed to have flourished in Kashmir in early times and
according to some had its birth there. These have been described in full
detail in Pañcharātra texts like the Jayākhyā
and Ahīrabudhnya Samhitās.Today we have only a vague reminder of Kashmir having been a an
important seat of the cult in the appellation Pradyumna Pītha given in BS to Hari Parbat. Pradyumna, it may
be pointed out, is one of the four vyūhas
or deities of the cult representing cosmic reality.
These
then can be regarded as the main sources of inquiry about the ritual system of
Kashmiri Hindus. Coming back to samskāras
or life-cycle rituals, I have drawn attention to the fact that exigencies of
circumstances brought about by the near total displacement of Kashmiri Pandits
have greatly affected their ritualistic behaviour, contributing further to the
cultural loss suffered by them due to the processes of modernization.
Prolonged contact with Islam and Islamic way of life has done incalculable
harm to their consciousness of their own traditions and religious practices,
blunting their perceptive faculties.Of the sixteen standard samskāras they are today practically performing only the bare
essential ones like mekhal or sacred
thread investiture, nethar or
marriage ceremony and antyeshti or
funerary rites, and even that to the minimal extent.
A
few words about the role of samaskāras
in the Hindu tradition become essential here.It is essential to note that samskāras
consist of processes “by which the natural is transformed into the
cultural”. The
process of transformation starts with conception itself in the biological
cycle of an individual which gets intimately related to that of another human
being of the opposite sex, leading to a new human being coming into existence.
The life cycle
of the newly born person in turn gets closely intermixed with the life cycles
of the parents for the rather long period of growing up and attaining
maturity. It also gets enmeshed with the cycles of his siblings and other
members of the family, as also their peers and marks the beginning of
socialization with cultural values like love and sensitivity for each
other’s concerns and respect for the elders coming into play.The “ritualistic consecration” of marriage of two individuals
starts it all. It
is the symbolic character of the ceremonies performed at different stages of
life right from the “biological moment” of conception to death that imbues
these natural processes with the significance of a cultural dimension.The ritualistic procedures of karmakānda
for transformation of the biological reality into cultural consciousness, is
what lends Hindu samskāras with
a meaningfulness and purposive character that raises human beings to a level
beyond the purely biological existence of non-human beings. The subtle
impressions that samskāras
leave on mind set into motion processes that lead to acculturation and
socialization.
Although
the Laugakshi Grihyasutra gives details of the sixteen standard
samskāras, Kashmiri Pandits have been done away with most of the
prenatal ceremonies, including dŏd dyun or curds ceremony which was performed till a few
decades back. Among the post-natal ceremonies too jātakarma
or shrānasŏndar, which
consists of ritual bath given to the mother and child on or after the sixth
day of birth, is hardly performed as a religious ritual. On the shrāna sŏndar day, it may be pointed out, ladies would
assemble in the confinement room of the mother and pass lighted pieces of
birch-bark around the head of the new born and all those who are present,
shouting “shokh ta panasund”.
Though some interpret these words as a distortion of “punahsantu”meaing
“May you have more children”, “panasund”may
actually be remnant of a forgotten mantra or hymn.Though kāhnethar or
the eleventh day purification rites corresponding to a
blend ofjātakarma and
nāmakarana and zarakāsay or mundana,
the first tonsure of the male child, and perhaps annaprāshana or ceremonial feeding of a new born child with
solid food, are still performed by some, the precise dates prescribed in the
sacred texts are no longer adhered to. Modifications have been introduced in
the performance of other domestic rituals too due to circumstances. However, mekhal
or the sacred thread investiture ceremony continues to be regarded as the most
important initiation ritual prior to marriage for a boy.It is rather strange that the wearing the
mekhalā or girdle to put the loin cloth in place, which is only a
part of the ceremonies of upanayana or yajñopavīta
has become the nomenclature of the whole samskāra.
This is something that needs investigation. But one thing must be noted. Today
it has become an outward sign of being a Hindu Brahmin, just as
tshog or the tuft of hair was sometime back.
The
upanayana samskāra or sacred
thread nvestiture ceremony as performed byKashmiri Pandits seems to have been reduced to farce with a compact of
as many as twenty four ceremonies right from garbhādāna, kāhanethar,
zarakāsay and vidyārambha to samāvartanabeing rolled into one.But many of the indigenous ceremonies like divagōn,
närivankhārun, tĕkytāl,
vāridān and ādidarshun
have a great charm of their own which they have retained.. The närivan
khaārun ceremony appears to resemble the simāntonnayana
ceremony in some ways with husbands adorning the hair of their wives with the
help of small mulberry twigs. Performed
prior to upanayana of a boy or the marriage ceremony of a boy or a girl, divagōn
is indeed a uniquely Kashmiri ceremony, colourful and exciting. On this
occasion the to-be bride is decorated with bridal jewellery for the first
time. This includes the dejihor, the
symbol of her married status, which is said to be designed as a stylized form
of shrīchakra. The ornament is a late comer and shows the xtent of
the influence of the Shākta cult on Kashmiri Hindus. The
word divagōn is probably
derived from Sanskrit devāgamana
and entails invoking the presence of gods – Ganesha and the sapta māttrikās – to bless the intiate or the boy or
girl to be wedded.It begins with a ritual bath given to the initiate or would -be bride
or bridegroom by four maiden holding a cloth over their heads and pouring
oblations into the sacred fire.On the eastern wall drawing of a
kalpavriksha or the wish-fulfilling tree supposed to be the abode of the
divinities in Nandanavana or the Garden of Paradise is made on a shatchakra
base symbolizing Shakti is made for the invocation.The drawing is called divtamūn
in Kashmiri meaning ‘column of the gods’.
The
yajñopavīta ceremonies do not
conclude with samāvartana or
the ceremonial return of the brhamachārī
after the supposed end of his student career.On the day following the sacred thread investiture, a small
homa is performed to thank the gods for everything having passed off well.
Marriage,
or nethar as it is called in Kashmiri, is regarded by the Kashmiri
Hindus as the most important of all samskāras
as it forms the cultural pivot around which the life of a person as a
householder revolves and ensures continuation of the family and the race
through the progeny.A
Kashmiri Pandit marriage has all the core elements that constitute a Hindu
wedding, but it also has several peculiarities that are distinctly Kashmiri,
being a charming and yet a serene affair. Like mekhal,
it too has divagōn as an
essential constituent with Ganesha and the sapta
mātrikās showering benedictions on the bride and the bridegroom.I would like to point to two ceremonies in particular as
they are suggestive of historical and civiliztional facts.. One is remembrance
of Saraswati, the river and the goddess both. As
the wedding is going on, a hymn is recited by the bride and the bridegroom in
praise of the River Saraswati on the banks of which the Brahmins of Kashmir
are believed to have originally lived. The river, says the hymn, distributes
its sweet waters as a mother distributes her wealth to the daughter:
Praising
the goddess Saraswati, to whom Kashmiri Brahmins are so deeply devoted, the
husband describes her as a gracious and beautiful lady of resplendent
complexion, beautiful eyes and eyebrows, and prays to her to protect the
lifelong companionship between him and his bride.
Another
unique ceremony is about ceremonial entry of the ganga
vyas or River Ganga personified as the bride’s personal friend soon
after the madhuparka ceremony. This
is mentioned in the karmakānda
manual brought out by Pandit Keshav Bhatt Jyotshi. The role is played by a
young girl from the bride’s side who acts as a confidant of hers.Nothing is known about the origin or purpose of this ceremony, but it
appears that in ancient times the bride was actually led to the banks of a
river by her female friends for a ritual bath. Later, during the Muslim rule,
most probably during the Afghan period, this ritual must have been
discontinued for fear of harassment. Supposed to be the embodiment of the holy
river itself, the young girl is understood to function as a witness to the
purity and sanctity of the marriage ceremonies.
There
are some other uniquely interesting features of a Kashmiri Pandit wedding that
need mentioning. These include ceremonies like dvāra
pūzā and posha pūzā’,
the latter probably showing an influence of the Shivakarmī
cult. After
the bride’s father and the bridegroom’s father have greeted each other and
the wedding guests have settled down to enjoy the wedding feast, the bride and
the bridegroom are called to perform the dvāra
pūzā at the entrance gate of the bride’s house. The bridegroom
cannot enter the house without performing this ceremony at which the guardian
deities of the gate are invoked and worshipped according to set procedure.They include Ganesha, Dharma, Adharma, Dehalī, Khinkhinī and
gods of the ramparts of the Sumeru Mountain.The doors are taken to be the thresholds between the outside world and
the consecrated space inside, offering passage into a new phase of life. It is
considered essential to pay homage to these guardian deities of the door to
ward of perils and dangers and bring in protection and auspiciousness. Before
entrance the bridegroom and later the bride are made to stand on the
consecrated cosmic circle called the vyūg
and are identified with Shiva and Parvati or Lakshmi and Narayana.These very gods guarding the entrance, it may be pointed out, are also
worshipped during Grihapravesha or
the ceremony of entering a new house.
Posha
Pūzā
is the concluding and one of the most important ceremonies of Kashmiri Hindu
marriage without which the nuptials are regarded as incomplete.The bride and the bridegroom are made to sit under a red canopy and
worshipped with flowers as embodiments of Shiva and Parvati by their parents
and close relatives. The benedictory verses recited on this occasion refer to
the names of gods and goddesses, sages and seers, ancient warriors and famous
kings and queens, pious mothers etc., perhaps to remind the couple of having
ideal children like them, and wishing them a firm and loving relationship like
ideal couples of Vedic and Puranic lore. The gods are invoked seeking their
blessings so that they may obtain long life, learning, wealth, happiness and,
of course, “many sons” . The ceremony seems to have to do with Shivakarma
ritual tradition.
As
in the case of rituals of life, in performing rituals of death too Kashmiri
Hindus are guided by notions of purity and impurity (shaucha-ashaucha)
and auspicious-inauspicious (shubha-ashubha).But even more than that, they regard the ritual of cremation as a
“sacrifice” or an act of expiation through the medium of fire.This is because of a deep influence of Shaiva ritual and it has made
the death rites among them very elaborate. It is the “final” sacrifice”,
according to the Shaivas, before the departed soul attains liberation or
identification with the “supreme state of Shivahood”. The funerary rituals
of the sect known as Shivakarmīs are even longer and more complicated as they
involve performance of a whole set of purification rituals even on the
cremation ground to consume and destroy the karmic bonds of the deceased.The extreme shortage of performing priests after the exodus of Kashmir
Pandits from Kashmir has made the situation indeed very difficult for those
who want to perform the last rites oftheir deceased kin according to Kashmir rites as other priests are not
acquainted at all with the procedures of the Kashmiri ritualistic system.
I
have devoted a whole long chapter to Kashmiri pūjā
rituals and festivals, analysing their structural aspects, history and also
distinguishing characteristics.Rites are prescribed in religious texts for the nitya
or daily worship and naimittika or
acts of worship performed on sacred dates and special occasions. The latter
include religious festivals, birthday celebrations, propitiation of planetary
deities etc. in which elements from folk religion, mystic rites, cultic
practices all combine and co-exist as constituents. Conceptualization of
cosmic forces and symbolization of ceremonial acts and movements are
significant aspects of Kashmiri pūjā rites, their basic ritual structure being related to
the shodasha upchāra pūjā
or the sixteen-step worship service which is the norm followed byHindus everywhere,
with of course some modifications and variations prompted by local factors. In
its simplest form it starts with āvāhana
or invocation to the deity to be present at the ritual setting, after which
life is infused into the image by means of the prescribed mantras (prāna
pratishthā) signifying that it is not the external image but the
living deity present insideit who is being worshipped. After being invoked, the deity is welcomed
as a guest and offered seat (āsana),
water for washing feet (pādya),
libation of sacred water with rice grains, Dūrvā
grass and flowers (arghya), water
for rinsing the mouth (āchamanīya),
bath for purification (snāna),
lower and upper garment (vastra and upavastra),
fragrant materials (gandha),flowers (pushpa), incense (dhūpa),
lamp (dīpa), and last of all food (naivedya)
which is partaken by the performer and the participants as the deity’s gift
of grace. The worshipper concludes the pūjā
with namaskāra or salutation to
the deityand then offering flowers and waving lamps (ārātrikā).With mantras he bids farewell to the deity (visarjana).
In case of congregational or public pūjā
performed in temples and sacred shrines, the concluding act is that of pradakshinā
or circumambulation. The Kashmiri Hindus have, however, reduced it now to pañchopchāra and even further to what has been given the name
of “dhūpa-dīpa”.
There
are several other important ritual acts associated with pūjā,
like
purification of self, the ritual setting, and ritual objects, prānāyāma,
recitation of the Gāyatrī mantra called vyāhriti,
waving a five-wick oil or camphor lamp (ratnadīpa),
holding a parasol (chhatra) over the
image of the deity, blowing a conch (shankha)
and singing hymns to the accompaniment of a ringing hand-bell (ghantā).
This is what Richard Davis has termed as “the least common denominator of Pūjā
as a form of Hindu worship”.It is within this broad structural and conceptual framework that
regional variations, modifications and additions have emerged and given shape
to peculiarities that can be distinctly identified as “Kashmiri”.
Kalshapūjāna or worshipping or
the water pot is an essential preliminary of Kashmiri pūjācermonials as it is believed to be the abode of all gods.According to Heather Elgood it conveys the idea of fullness and is
“such a central element in and symbol of Hindu art that no ceremony can be
performed without the installation of an auspicious vessel”. Consecrated
by swastika and shrīchakra
marks made on it by vermilion, it is placed on an ashtadala
kamala or eight-petal lotus drawn with rice flour or lime powder on the
ground at the ritual site towards the east and on the left side of the agnikunda.
Vishnu is supposed to occupy its mouth, Rudra its neck and Brahma its bottom.
The group of mātrikās is
known to reside in the middle part. Indra, Agni, Varuna, Vāyu and Yama
all reside inside it. The kalasha
also represents the ten directions along with their presiding deities. All the
oceans and the earth with its even continents rest in the interior part of it.
The Vedas – Rig, Yajus, Sāma, and Atharva, with all their auxiliary
texts assemble in the water pot:
Kalasha
pūjā begins
with the hymn portraying the Vedas as the wish-fulfilling tree and praying to
it for protection.
There
are special procedures for special pūjās
as, for instance, those associated with festivals.Linked with civilizational memory, which they help to enact, festivals
and celebrations can be described as cultural events internalized by people to
such an extent that they feel compelled to participate in them as they find
their identity in doing so.
An
interesting fact about some Kashmiri Hindu festivals that I have tried to
investigate is that their dates fall one or two days earlier than the day on
which they are celebrated in the rest of the country.Shivaratri and Janmashtami are two examples of such festivals. As for
Shivaratri, the most important of Kashmiri Pandit festivals, it is celebrated
on tryodashī or thirteenth day
of the dark half of the month of Phalguna and not on chaturdashī
as in the rest of India. The celebrations actually extend from the pratipadā
or the first day to amāvasyā
or the last day of the dark fortnight or even beyond to the tenth day of the
bright half. Digging into the pages of some forgotten Tantric texts, I have
excavated the story of the Jwālālinga about the origin of the
festival. Describing the whole festival in all its details and symbolism, I
have explained that these texts term Shivaratri as
Bhairavotsava as on this occasion Bhairava and Bhairavi are to be
propitiated through Tantric worship. According to the story, Svachhandanatha
Bhairava, a five- faced form of Shiva, appeared as a Jwālālinga
or a column of fire at pradoshakāla
or the dusk of early night on trayodashī.
Failing to find the beginning or end of the linga,
Vatuka Bhairava, the principal deity of the pūjā,
and Ram Bhairava sing its praises while Shakti, whose mind -born sons they
were, merges into it. The two emerged, one after the other, with all their
weaponry from two pitchers filled with water when the Great Goddess cast her
glances into them. She assured Vatuka that he will essentially receive worship
first on the trayodashī. This
is perhaps the reason that Vatuka is worshipped in the form of a pitcher
filled with water into which walnuts are kept to soak and later distributed as
naivedya. Rāma Bhairava or
Raman Bhairva also has a role to play on the conclusion of Shivaratri
celebrations. He is the “Rām Bror” who knocks at the door and
promises to bring happiness and prosperity to women of the celebrating family.
It is sad that this beautiful piece of drama hasbeen forgotten and Ram Bror is
regarded to be a benign cat and not Rāma Bhairava, the Devi’s mind-born
son.
Consecrated
an iconic pottery is an important part of Shivaratri pūjā – a
unique feature of it. Apart
from the earthen pitcher representing Vatuka Bhairava, special hand-moulded
vessels of various shapes and sizes believed
to be charged with spiritual power and representing the main deities are
worshipped during the pūjā.
These include a cone-shaped clay linga
called Sanipŏtul and an open-mouthed vessel having three parts called Vāgur.
Ridiculous etymology of both these images have been floated, but the sanipŏtul
actually represents five-faced Shiva (Svachhandanāth Bhairava?) on which
water is sprinkled for abhisheka. The
etymology of Vāgur is more confusing. Could it be derived from Vyāghreshvar
– probably the name of aBhairava? Whatever
the case may be these aniconic vessels are a very interesting and fascinating
aspect of Shivaratri pūjā
in Kashmir and decoding its mystery is very challenging job.
It
may sound to be a tall claim but the manner in which I have described most of
the major festivals of Kashmiri Hindus together with their peculiarities and
symbolism, seems to have some lesser known facts concerning them to light.
Besides Herath or Shivaratri these festivals include Navreh,
Jyeshtha Ashtami, Khetsi Mavas,
Pan, Tiky Tsoram and several others.The fact is that they reveal Kashmiri Hindus as people who celebrated
life and tried to live in perfect harmony with their beautiful natural
environs, finding glimpses of divinity in its phenomena.Their all-inclusive philosophy of Shaiva monism rejects the otherness
of God and emphasizes the oneness of Man, God and World. It is sad, however,
that some pūjās that were
quite popular in Kashmir only a few decades back are now completely forgotten.
And though in my study, I have tried to record for the religious historian
facts of their history and their ritualistic aspects as far as I could, I feel
sad that they are no longer being performed.One of these was the Pañchāyatana Pūjā, which involved
worshiping the five major deities of the Hindu pantheon – Vishnu, Shiva,
Devi (Durga), Ganesha and Surya – with the image of the favourite deity (ishta
devatā)of
the worshipper placed in the centre and of the others at four corners in the
temple or the thokur
kuth. Forgotten
also is the Parthiveshvara pūjā, which isat once a folk art and a
ritual. It consists of making an instant Shivalinga of clay, together with
images of Kumara, Ganapati, Uma and the eleven Rudras.The linga and other images
were made artistically of clay obtained from a devasthāna or place of worship, the Shankracharya Hill being a
popular place for Pandits of Srinagar to dig for it. As the clay images could
be easily immersed into the river after the worship, Parthiveshvarapūjā probably
became quite popular in Kashmir during the Muslim rule when fear of
persecution made visiting temples for congregational worship a risk.
Ritual
art compliments religious practices as a means to express the invisible in
terms of the visible. Though not exactly driven by aesthetic impulse, this art
has been an integral part of the religious life of Kashmiri Hindus.To put it in the words of Heather Elgood, the role of Hindu religious
art is to “act as a threshold between the worlds of gods and men”.For the Kashmiri Hindus too ritual art forms serve many purposes. Some
of them serve as an aid to meditation, while some are believed to have the
potential of driving away evil forces and protecting from calamity and
misfortune.Many
of them are associated with auspiciousness and well- being which they are
supposed to attract through their magical power. Yet many such art forms have
disappeared or are on the verge of disappearing – a sad commentary on a
community which claims to be concerned about preserving its traditions.In fact my attempt to explore the function, meaning and symbolism of
these dying folk art forms was a venture no art historian had undertaken so
far. I had dared to open a systematic line of inquiry into a totally uncharted
area. The
field I surveyed was indeed vast in range, covering Gora
Tray, Vyūg,Krūl, Hāramandul,
Krūla Pachh, Divtamūn, Tĕky
Tāl, Chittāvāsa, Shrīchakra,
aniconic pottery used in Shivaratri worship, drawings related to several
life-cycle rituals and much more. The
total indifference and disinterestedness displayed towards these by Kashmiri
Pandits, a people whose ancestors gave shape to the building blocks of Indian
aesthetics, shocked me.The way beautiful art forms like Gora
Tray executed freehand by priest artists and women were allowed to die –
people would paste them on their window panes to blockblasts of cold air from entering the room during winter months --tells an extremely sad and painful story. Gora
Tray has – the scroll paintings with the image of Saraswati and a hymn
to her at the centre which used to delight the hearts of Kashmiri Pandit
children only few decades back -- has vanished without a trace. It has
beenallowed to die and disappear due to sheer indifference and deadening of
aesthetical sensibilities. Years back I went from town to town, village to
village, person to find one single surviving specimen, b ut without any
success.The Krūl
Pachh and almanac paintings have met the same fate.The Vyūg, a descendant
of the bhūmishobhā of the
Nilamata Purana, is still there
because it is still thought essential to make the bridegroom and the bride
stand on it at weddings, but in what a grotesque and crude form. The same is
the case with Krūl, the floral
designs painted on the entrance door at the time of a marriage or Yajñopavīt
ceremony. The
Hāramandul – a representation of the Sun god drawn on the floor--
is since gone. The Tĕky Tāl or patterns of shrīchakra
and bindu is in equally bad shape. I
undertook to note some peculiarities of this wonder art as I was deeply
fascinated by the inherent symbolism of the shapes and configurations of these
ritual drawings with the square standing for consecrated space and the circle
easily identifiable with “the cyclical flow of time”.
I
hope it will be appreciated that in my study I have desperately tried to
capture the feel of a culture lived – a way of life once vibrant but now in
the last throes of its existence.What can be more tragic than that the deeply painfullong suffering Hindus of Kashmir should have lost the even the feeling
of a cultural loss that should have stunned them. They have lost their land,
they are about to lose their language and if they lose their rituals also,
they could well lose their selfhood even for rituals are symbols of identity.
The danger of deracination looming large over them is real and terrible. I
think Prof. Fotedar will bear me out that as we surveyed the situation on the
ground to enable me to make a headway regarding my project on rituals, we
found it to be appalling. Amnesia
seemed to threaten to take over everything. I hope my work on the rites and
rituals of Kashmiri Brahmins will rekindle the flame of desire in them to
know their real image andprotect it from being wiped out.
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