Masan Thakur - Part 1 : The Terrifying Folk Deity .
By Biswarup Chatterjee .
It is difficult to precisely determine when and how Hinduism began to spread in Cooch Behar. However, there is no doubt that Shaivism had the most prominent influence in the ancient princely state of Cooch Behar. From various historical texts, we came to know that the kings of Cooch Behar constructed numerous temples and installed idols, not only across this district but also in neighboring districts and states, affirming that the royal lineage adhered to Hinduism. Such influence can be clearly seen in the various traditional festivals and rituals of the region .The majority of the subjects were also followers of Hinduism.
Later on, with the growing influence of Shaivism and Vaishnavism, many local or regional customs and festivals underwent such transformations that it has become exceedingly difficult to determine their original roots. Numerous religious preachers arrived in the region over different periods, and naturally, the influence of various faiths extended throughout the kingdom. Noteworthy among these preachers were Gorakhnath of the Nath sect, Christian missionaries, and early 13th-century Muslim saints such as Torsha Pir, Shah Fakir Khondkar, Ghazi Pir, Pir Ekramul Haque, and Shah Garib Kamal. Many of them passed away in Cooch Behar, and their burial sites are now revered as mazars or shrines.
Although there are references in various texts to Chaitanya Dev, the preacher of Gaudiya Vaishnavism, and Guru Nanak, the Sikh spiritual leader, visiting the region in the early 16th century, there remains a lack of verifiable historical evidence. Shankaradeva, the founder of Assamese Vaishnavism, was granted refuge by the king of Cooch Behar and preached there for an extended period. Along with his disciples Madhavdeva and Damodardeva, he resided in Madhupur, where he passed away in 1569 CE. Shankaradeva is thus regarded as the first Vaishnava missionary in the region. It is believed by some that two other preachers, Sona Roy and Rupa Roy, also visited the area. Even today, Sona Roy is worshipped annually in the village of Boro Shaskadal, approximately 15 kilometers from Bamanhat station.
Subsequently, Christianity, Jainism, and the Brahmo religion also exerted influence in Cooch Behar.
The soil and nature of Cooch Behar are naturally fertile and rich, and likewise, its folk deities are deeply rooted in the everyday lives of the people. These folk deities have become a part of daily life, not confined within rigid scriptural frameworks or puranic molds. The people of Cooch Behar perceive these deities not as distant divine beings but as intimate companions — appearing in the home, in the open fields, in the cow sheds, along riverbanks, or amidst the playful laughter of children in village squares.
The rituals and observances associated with these folk deities and their festivals are as diverse as they are significant in uncovering valuable historical insights. Within the various forms of idols and methods of worship lie embedded the memories, religious beliefs, cultural practices, and social customs of bygone eras. Alongside the mainstream ritualistic worship rooted in Hindu mythology and traditions, or those inherited from pre-Aryan communities, the veneration of regional and folk deities has also flourished considerably. In many rural areas, one still hears numerous supernatural tales and legends surrounding these local deities. These festivals and rites are marked by the villagers' deep sincerity and heartfelt devotion, which are truly noteworthy.
Although numerous folk deities are worshipped in Cooch Behar, some appear more influential and widely revered. Among them are: Kumir Dev (God of crocodile), Masan Devata, Hudum Deo, Bura Thakur, Buri Ma, Jaka-Jakini, Dangdhora Dev, Dhel Dev, Dhang Dhing Thakur, Baba Thakur, Sannyasi Thakur, Hathi Posa Thakur, Gorakhnath, Bahanto, Shalti Bari Thakur, Korakuri, Shakhati Devi, Balibard Thakur, Shitala, Manasa, Subachani, Smashan Kali, Satyanarayan, Bagh Devata (God of tiger), and Sona Roy. Here the term ‘Dev’ ‘ Devata’ ‘Thakur’ denotes God or Goddess.
Most of these deities do not have permanent shrines. Worship often takes place under trees, beside roads, riverbanks, ponds, cremation grounds, or in forested areas. In some villages, small tin-roofed or thatched temples serve as the site for their worship (Figure 2:). Often, there is no idol; instead, a stone, tree, or trident becomes the deity’s symbolic presence. In places where local or regional deities are worshipped, the villagers usually do not refer to these sites or shrines as temples in the traditional sense. Instead, they call them ‘thān’ or ‘pāṭ’ (Figure 3:). Unlike the worship of scriptural deities, which typically requires the presence of a designated priest, the worship of these local deities often does not involve a priest at all.
Figure 3: ‘thān’ or ‘pāṭ’ of Masan thakur
(Courtesy: https://images.app.goo.gl/3ve1WkhgPbgmbXuo8)
The origin of many such deities lies in ancient totemic practices, taboos, and magical beliefs. They are mostly non-scriptural and apocryphal, entirely shaped by local life. Under Brahmanical influence, several folk deities have been renamed or merged with mainstream Hindu gods. In essence, they function as regional, village, or votive deities.
Some villages in Cooch Behar are known to be under the spiritual guardianship of specific folk deities. For instance, in Alokjhari village in the Gosanimari region and Gabua village under Sitai Police Station, In these two villages, the joys and sorrows of the villagers, their ailments and misfortunes, as well as their agricultural activities, are believed to be governed by the unseen power of a local deity named Masan God. From a scriptural standpoint, these village deities are regarded as outcast or fallen. Their worship is predominantly found among marginalized or tribal communities, especially in agrarian folk societies. In course of time, some of these deities have been incorporated into the mainstream Hindu pantheon and are now worshipped alongside deities like Kali and Annapurna.
There is no mention of this God and Goddess in any Purana or scriptural text. The appearance and attributes of the form of idols of Masan deity vary across the district — including regions like Haldibari, Mekhliganj, Nishiganj, Dinhata, and Gosanimari. The differences lie not only in the form of the idols and color but also in their vahana (divine mount). In the Akrarhat region of Maghpala village, Masan God is seated on either a pig or an elephant. In Alokjhari village, the vahana is a shoal fish (Figure 4:), On the day of Chaitra Sankranti (last day of the Bengali calendar month Chaitra, typically falling on April 14th or 15th) during the Sakhis' fair held by the edge of the wetlands in Nagarbhagni village, alongside Annapurna and Shitala, the headless form of Masan deity is also worshipped — whose vahana, interestingly, is a turtle." The idol of Masan God may hold a penti (a local three-to-four-foot-long stick) or a mace (Figure 5:). He may appear seated posture or sometimes in standing posture also. The structure, form, and appearance of the seated posture of Masan deity clearly indicate that they are folk manifestations of the mythological deity Shiva in the Cooch Behar district. The variation in vahanas further suggests that animal worship, especially of wild creatures like elephants or tigers that once roamed these lands, evolved into a form of divine worship aimed at protecting life and agriculture.
In addition to clay idols, another traditional form of Masan worshipped by the indigenous and Rajbanshi communities is crafted from shola (shola pith) (Figure 6). These are prevalent in Mekhliganj and Tufanganj subdivisions, with the deity seated on a horse. Local artisans display great skill in creating these idols. Previously, Masan and similar deities were worshipped in abstract forms such as stones, flags, tridents etc.
Masan Devata is particularly famous in Fulbari Dham near Alokjhari, around 8 kilometers from Gosanimari village. The pāṭ or thān (local sacred place or shrine, especially one dedicated to a folk or regional deity) of Masan deity is also noticed at Nava Mahākāldhām, located about one kilometer from both Dewanhat and Bhetaguri. Masan is envisioned in both male and female forms. In her female form (Figure 7:), she is identified with Kali — four-armed, seated on a lion, and shown standing upon a reclining Shiva. In male form, Masan is worshipped as Shiva or one of Shiva’s attendants, often with his vahana, such as shoal fish, horses, elephants, or pigs. At Fulbari Dham, he is worshipped in his male form with a shoal fish as his vahana. Worship typically takes place on Tuesdays and Saturdays. A large fair is organized here in late Baisakh (first month of the Bengali calendar (Bangabda). Devotees offer sacrifices of goats, pigeons, and pigs.
Folk belief in Cooch Behar holds that Masan is the eldest of the eighteen children of Kali and Dharma Thakur (God). Some believe Masan was born on Saturday in the month of Bhadra. Another folk belief among the Rajbanshi community of Cooch Behar is that Masan exists in sixty different forms. In the Natabari and Kadamtala regions of Tufanganj subdivision, a local belief about Masan's origin holds that each drop of sweat from Goddess Kali’s body—while she danced in divine ecstasy—gave birth to a different form of Masan.
“nācite nācite kālī āiyar / cuiyā paḍe ghāma / tāte sṛṣṭI haila / e jalā māsāna l “
(As Kali danced, sweat dripped — and from it was born the water Masan.)
In nearly every village, ojhas (folk healers), rojas, kabirajs (Ayurvedic practitioners), and bohongriyas (local priests) describe Masan’s presence and power. If someone falls ill suddenly, believed to be struck by Masan’s wrath, they are treated through rituals to appease the deity.
Masan’s than is always located outside the village — either in a two-sloped hut made of straw (locally called chhon) or beneath a banyan or shaora tree. In most forested areas, The Shola-crafted idol of Masan deity is worshipped seated on a horse. In developed villages, the shrine is a tin-roofed two- or four-sided temple. Worship practices vary by region: in some places, like Shalbari and Harirhat of Tufanganj, only the ojha, healer, and the afflicted persons are present during the ritual. But in places like Balashi and Alokjhari under Dinhata subdivision the worship is common to all.
The idol is usually made of clay — either seated in a lotus posture or standing, holding a penti or mace. Some are headless, with eyes on the chest ( Figure 8). Others appear as Rudra-like, riding an elephant or lion. Some have blue or black complexions, with matted hair and a petti (headband). These diverse forms reflect how local imagination shaped Masan over time.
Masan’s wrath is believed to be most active during Sankranti (as per Bengali calendar the last day of the month), Amavasya ( the night when the moon is not visible in the sky), Saturdays, and Tuesdays. Worship is performed to cure disease or abnormal behavior — symptoms include snapping fingers, hearing bamboo sounds, asking to fish at night, or digging clay. Offerings include fired clay from an oven, shoal fish, earthen lamps, bananas, curd, puffed rice, fried rice, two red ensign, and sometimes liquor and eggs. In earlier times, pig meat was offered.
Worship takes place at noon or midnight. Even in the absence of designated priests, the role of officiating the rituals is often performed by Ojhas and Brahmins from the locally entitled communities. In many prosperous villages, Brahmins bearing the title 'Sharma' and trained in scriptural traditions also serve as priests.. During healing rituals, the patient is seated on a wooden stool, and water is sprinkled while incantations are chanted. If the person does not recover, a second ritual called ‘Bhomor Bhangano’ (a ritual) is performed by a ‘Bhongriya’ (local priest) — a ritual specialist aided by a drummer and deuri. If this also fails, an effigy made of clay, with a pigeon and lamp, is set afloat. According to local sources one of the mantras used in that worship is.
“eso kālī basa cāle kathā kaau karṇa mūle l
Kaeṇer kathā karṇe kaau yata mithā Mane khaābi ll
Karam karam dharam dharam sātāli parvata cālaṃ l
naraṃ loker nāka cālaṃ, marā vartā māsāna ll”
Masan is never worshipped as a household deity. Despite being feared, he commands reverence as a profound and ancient cultural creation of the local society. Notably, Masan has both male and female forms: as Kali, he rides a lion and stands on Shiva; as a male, he is seen as Shiva or his attendant, invoked to protect against plagues, disasters, or accidents (Figure 9 & 10).
In Maghpala village, he rides on a pig and is identified as four-armed Shiva. Along national highways in Tufanganj subdivision, Masan shrines are found in places like Talliguri and Maruganj. Goat and pigeon sacrifices are common during Saturday and Tuesday rituals in the month of Baisakh. Chamta in Sitai block has around eight Masan shrines or pāṭ. In Patchhara and Gopalpur of Mathabhanga subdivision, Masan is worshipped along with other deities like Sannyasi Thakur, Banmara Thakur, and Dhangdhing Thakur.
Though science now labels many such beliefs as superstition, there was a time when traditional healing and rituals were held in high esteem. Among the Indo-Mongoloid Rajbanshi and tribal communities, Masan remains a declining yet deeply significant folk deity, embodying both dread and reverence in the cultural ethos of Cooch Behar.
Conclusion
The worship of Masan Thakur in Cooch Behar stands as a compelling testimony to the region’s deeply rooted folk traditions and indigenous belief systems. Unlike the canonical deities of the Hindu pantheon, Masan represents a synthesis of fear, reverence, and communal memory — shaped by local mythology, environmental realities, and social customs. His evolving iconography, ritual practices, and association with disease, disaster, and protection reflect the lived experiences of agrarian and tribal communities who sought to negotiate the uncertainties of life through divine intercession.
Masan’s presence across villages — in the form of earthen idols, symbolic stones, or shola-crafted effigies — and his worship at thāns under trees or in remote sacred spaces illustrate the decentralised and organic character of folk religion in Cooch Behar. The deity’s dual representation as both a malevolent force and a protective spirit underscores the complex emotional and spiritual relationships rural societies maintain with their deities. Rituals performed by ojhas and bhongriyas in times of crisis further affirm the functional and therapeutic role that folk religion continues to play, even in the face of modern medical advancements.
Today, as rapid modernization and rationalist discourse challenge the continuity of such beliefs, Masan Thakur and other local deities remain important cultural markers — not merely as vestiges of a "superstitious" past, but as dynamic expressions of a community’s identity, worldview, and resilience. Preserving and documenting these traditions, therefore, is not only a matter of ethnographic interest but also an essential part of safeguarding the intangible heritage of Bengal’s folk spirituality.
***To Be Continued ***
Reference:
Ahamad, Khan Chaudhary Amanatulla. Kochbiharer Itihas. Vol. 1, Kochbihar State Press, 1990. Reprint.
Das, Biswanath, editor. Cooch Beharer Samaj o Samskriti. Edited by Biswanath Das, Anima Prakashani, Dec. 2014. ISBN: 978-93-83123-15-5.
Sanyal, Charu Chandra. The Rajbansis of North Bengal. Reprint ed., The Asiatic Society,2 002. Monograph Series no. 11. Originally published 1965.
Comments
Post a Comment