Biṣaharῑ Worship Among the Rajbanshi Community of North Bengal: A Cultural and Religious Tradition.
(Courtesy: https://images.app.goo.gl/DxmLgdswLfrRFYaW6 )
Author - Biswarup Chatterjee.
Abstract: This article explores the traditional worship of Biṣaharῑ, a
local manifestation of the snake goddess Manasā, among the Rajbanshi community
of North Bengal, particularly in Cooch Behar and Alipurduar. Biṣaharῑ, also
known as Padma, is revered as a household deity and is closely linked to the
region’s folk religious practices and cultural heritage. The article delineates
the forms of Biṣaharῑ worship Kāni-Biṣaharῑ and Gῑdālῑ-Biṣaharῑ highlighting
their social significance, seasonal observance, and ritualistic variations. It
further examines the ritual components including Deodhāni dance, folk songs
like Biṣohorā Gān, and the musical
instrumentation unique to the Rajbanshi community. Drawing connections with
tantric Buddhism, the paper investigates the appearance of the goddess as
Jāṅgulῑ in Vajrayāna texts and as Śaṅkaraputrikā in Hindu mantras. Literary
representations in Maṅgalkāvyas and
folk epics such as Manasāmaṅgalkāvya
and Manasāvijaya are analyzed to
trace the mythic evolution of the deity. The article concludes that Biṣaharῑ
worship, while rooted in Rajbanshi tradition, extends its cultural reachness
across other local communities, symbolizing a vibrant continuum of folk
religiosity, fertility symbolism, and communal identity in rural Bengal.
Keywords:
Biṣaharῑ,
Manasā, Rajbanshi community,
Manasāmaṅgalkāvya, Kāni-Biṣaharῑ, Gῑdālῑ-Biṣaharῑ, Deodhāni dance,
Manasār Bhāsān Pālā Gān, Vajrayāna Buddhism, Jāṅgulῑ, Śaṅkaraputrikā, snake
goddess worship, folk rituals of Bengal, Maṅgalkāvyas, household deity, Kamrupi
Brahmins.
The snake goddess Manasā, revered as
Biṣaharῑ in Northern India, holds a sacred place in the hearts of the Rajbanshi
community residing in regions like Cooch Behar and Alipurduar in North Bengal (
Plate 1 & 2). Known also by the name Padma, venerated as a household deity,
deeply embedded in the domestic and spiritual life of the Rajbanshis.
In the cultural milieu of this
region, a rich tradition of festivals and folk rituals thrives among the
Rajbanshi-speaking population. These religious observances are often
accompanied by vibrant cultural performances such as folk dances, songs,
theatrical plays, and various indigenous activities. Among these, the worship
of Biṣaharῑ stands out as one of the most significant and revered traditions.
During this sacred ritual, the
goddess Manasā is worshipped in her Biṣaharῑ form, and the celebration is
enriched by the singing of "Manasā Maṅgal", popularly known as the
"Biṣohorā Gān" (the song that is dedicated to or based on Biṣaharῑ
and her themes). This puja is generally performed on auspicious days in the
Bengali months of Jyaishṭha (May-June), Āṣāḍha (June-July), and Bhādro
(August-September), and is intended to appease the goddess revered as the
protector from snake bites and the guardian against poison. The term derive
from the Sanskrit word “viṣaṃ” (poison) and “hari” (remover), collectively
meaning “remover of poison”.
Traditionally, almost every Rajbanshi
household hosts this puja with deep devotion. An altar (Thān) is typically set
up in the northern or eastern courtyard, where rituals are conducted. While
Kamrupi Brahmins now officiate the ceremonies, in earlier times the Rajbanshi
Adhikaris (priests) were entrusted with the sacred rites. To them, Biṣaharῑ is
also known by other revered names such as Barmāṇῑ, Brahmāṇῑ, and Bhagavatῑ.
This worship often precedes marriage
ceremonies and includes folk songs along with Deodhāni dances (traditional
woman centric folk dance) performed in honor of the goddess (Plate 3 & 4). Traditional Indian musical instruments, especially the Kāṅg, Dhol, khol,
flute play a vital role in these rituals, enhancing the festive atmosphere. The
distinctive use of music and dance adds a unique cultural signature to the
celebration of Biṣaharῑ.
Within the Rajbanshi community, there are two distinct forms of Biṣaharῑ worship:
- Kāni-Biṣaharῑ – Performed for the well-being and
prosperity of domestic life, this form of worship can be observed on any
day.
- Gῑdālῑ-Biṣaharῑ – Usually associated with wedding
rituals and marked by the singing of “Biṣaharῑār Gān” (song of Biṣaharῑ ).
The term
Biṣaharῑ appears in the dhyāna mantra
(meditation mantra) of goddess Manasā :
“…vande śaṅkara putrikāt biṣaharῑṃ padmodbhavāṃ jāṅgulῑṃ…”
("I bow to Biṣaharῑ, the daughter of
Shiva, born from the lotus, the healer of poisons…”)
In this
mantra, she is also referred to as Jāṅgulῑ (Plate 5 & 6) and Śaṅkaraputrikā,
affirming her divine lineage as Lord Shiva’s daughter. Interestingly, Jāṅgulῑ
also appears in Vajrayāna Buddhism as a serpent goddess capable of healing and
preventing snake bites. The tantric text Sādhanamālā
elaborates her divine form and powers in great detail.
The impact of the worship of goddess
Manasā on the rural society of Bengal is profound, deeply influencing both
social life and cultural expression. Numerous poets have celebrated her glory
through folk and mainstream literature. Noteworthy among them is Jagjjiban
Ghosal, who composed the “Manasār Bhāsān
Pālā Gān” a narrative song performed during the Biṣaharῑ Puja, which is an
integral part of the Manasā Maṅgal kāvya.
The Mahābhārata narrates the story of
Manasā’s marriage with clarity and reverence, while Purāṇic literature first
records her birth. Later, between the 13th and 18th
centuries CE, the Maṅgalkāvyas of Bengal, a devotional epic dedicated to local
deities offered elaborate portrayals of her legend. Among them,
"Manasāmaṅgalkāvya" by Vijay Gupta and "Manasāvijaya" (1495
CE) by Bipradas Pipilai are regarded as foundational texts. According to the
scholars, at least fifteen Manasāmaṅgalkāvyas have been composed in reverence
to Manasā.
The symbolism of the snake often
associated with fertility and regeneration suggests that Biṣaharῑ may also be
worshipped by those seeking offspring. Moreover, when a person falls ill or
faces adversity, they often make a vow to the goddess, fulfilling it through
puja if they recover, as a gesture of gratitude and devotion.
In conclusion, Biṣaharῑ Puja is not
just a religious observance but a living tradition deeply rooted in the
cultural identity of the Rajbanshi people of North Bengal. While it is
primarily a Rajbanshi practice, members of other local communities such as the
Khen, Blacksmith, Potter and fishing communities also participate in the
worship, affirming its inclusive and enduring nature. This ritual remains a
powerful testament to the region’s folk spirituality, heritage, and communal
harmony.
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BIBLIOGRAPHY
Ahamad, Khan
Chaudhary Amanatulla. 1990 [rep.]. Kochbiharer
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Horton. 1899. Ralph Fitch, England's Pioneer to India and Burma: His Companions
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Majumdar,
Durgadas. 1977. West Bengal District
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Your blog is very informative. If you have more collection about this type of iconography theory, please share it.
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