Sunday, July 27, 2025

Devānāṁ Priyaḥ: Evolution of a Royal Title from Reverence to Ridicule.

         


devānampiyen piyadasina lājina (Figure. 1)

       Picture Courtesy: Patrick Olivelle, Ashoka: Portrait of a Philosopher King, page 152. 


Author - Biswarup Chatterjee.

          This honorific title was used not only by Aśoka but also by his grandson Daśaratha. According to Dipavamsa, the Sinhalese chronicle, the contemporary king of Sri Lanka also adopted this title during the time of Aśoka.

        The scholars claim that the use of this honorific title was influenced by the Vedic tradition. During the Vedic period, at the time of the coronation of the king, such deities like Indra, Varuṇa, Mitra, Pūṣaṇ, and others were invoked and their blessings were sou rtght. This custom, which comes from the Vedic tradition, lasted into the Mauryan period. No other king is known to have used this title after Daśaratha. According to the Siddhāntakaumudī which was composed by Pāṇini in 1630 CE, while explaining the grammatical rule ṣaṣṭhyā ākrośe (6.3.21), the author Bhaṭṭoji Dīkṣita makes a remark which led historian Radhakumud Mukherjee to state that later adherents of Brahmanical religion interpreted the honorific title ‘devānāṁ priyaḥ’ (Beloved of the Gods) as “fool.”, due to animosity towards Aśoka. in the context of the grammatical rule ‘ṣaṣṭhyā ākrośe’ (the genitive in expressions of abuse): when a word implies abuse or insult, the genitive case ending is not dropped even in an aluk compound. Dīkṣita here refers to a vārttika (supplementary grammatical rule) which states: ‘devānāṁ priya iti ca mūrkhe’ — meaning, in an aluk compound, ‘devānāṁ priyaḥ’ (beloved of the gods) can actually mean ‘a fool’. However, when the case ending is elided to form a regular compound, the word ‘devapriya’ simply means ‘beloved of the gods. According to Dharmavijayī Aśoka, which was written by Prabodh Chandra Sen, here the author interpreting the views of Radhakumud Mukherjee and as per that view: ‘The epithet ‘Devānāṁ Priyaḥ’ (Beloved of the Gods), assumed by a Buddhist king who was opposed to the worship of Hindu deities, was not received by the Brahmins properly. The brahmin community didn’t accept it cordially. As a result of that, they mocked the word (ākrośa) and interpreted the expression ‘Devānāṁ Priyaḥ’ as ‘fool’. ‘Ṣaṣṭhyā ākrośe’—that is, when conveying an expression of abuse, the genitive case (ṣaṣṭhī vibhakti) is not dropped; this principle of aluk compound from Pāṇini’s grammar (Sūtra 6.3.21) is appropriately supported by the vārttika composed by Kātyāyana: ‘devānāṁ priya iti ca mūrkhe’—which affirms the conclusion drawn. " It may be possible that this grammatical reinterpretation arose in a later period, rather than during the Ashokan own era. But if the expression of abuse associated with the word ‘Devānāṁ Priya’ had not already been in circulation since the time of the Devānāṁ Priyas themselves, such a distortion of meaning would not have been possible in the later period . 


      Now let’s see what the authoritative grammatical texts actually say. In the Mahābhāṣya on Pāṇini’s Sūtra 5.3.14, composed by Patañjali around the 2nd century BCE, the expression Devānāṁ Priyaḥ does not mean ‘a fool’. This is clearly evident from the three examples he provides: ‘Bhavān Dīrghāyuḥ’ (May you live long), ‘Devānāṁ Priyaḥ’ (Beloved of the gods), and ‘Āyuṣmān’ (Blessed with long life). In 7th centiry CE the gramariyan Jayaditya and Vamana repeat the formula of Paṇini. According to their interpretation of the formula ‘ saṣṭhyā Ākrośe’ (6.3.21), They didn't mentioning the meaning of this formula as 'fool', rather they simply stated in the vārttika that if the third-case ending (tṛtīyā vibhakti) in the word devānām is not dropped, then it should be understood as an example of an aluk compound. ‘Devānāṁ priya ityatra ca tatra aluk vaktavyaḥ’ — that is, in devānāṁ priya, the genitive ending remains and must be treated as ‘aluk’. Therefore, some scholars, while interpreting this formula, have clearly stated: 'The author of Siddhānta Kaumudī says, "when the sense is that of fool, the affix is not elided in devānām priyaḥ." There is no authority for this, either in the Mahābhāṣya or the Kāś 'devānāṁ priyaḥ' (beloved of the gods) was used to mean 'a fool'. By that time, the name of Aśoka had faded from public memory. In the 14th century, when Firuz Shah Tughlaq brought the Aśokan pillars from Topra and Meerut to Delhi, In the 14th century, when Firuz Shah Tughlaq transported the Aśokan pillars from Topra and Meerut to Delhi and had them reinstalled, it became evident that no one could read Aśoka’s Brahmi script—no one even knew who Aśoka was. Some called it Firuz Shah’s staff, others said it was Bhima’s mace.


        The two Aśokan pillars in the villages of Areraj and Nandangarh in Champaran district of Bihar were referred to by the locals as Shiva lingams. When Aśoka himself had vanished from the memory of the common people, how could the phrase 'devānāṁ priyaḥ' (beloved of the gods) possibly be referring to him? It was, in fact, a much later Sanskrit idiom used sarcastically—much like how people mockingly say ‘prince’ when they see a poor man acting like a gentleman. That’s why Dr. Barua once remarked that at one point he felt the English translation of 'devānāṁ priyaḥ' should be ‘His Gifted Majesty’.


        According to Western scholars, many of Aśoka’s inscriptions contain a title which composed of three words (devānaṁpiye piyadasi lājā), or a shortened form of it (see Figure 1)." In Indian literature, the epithet “devānaṁ piye” or “devānāṁ priyaḥ” first appears in Aśoka’s inscriptions, where the king uses it to refer to himself, as previously mentioned. According to most scholars, this is a royal title, and they often translate it as “Maharaja” rather than rendering it literally. There is no doubt that it is an honorific title. In Rock Edict VIII, Aśoka also addressed his predecessor kings with this title, indicating that he considered it a common title for the royal lineage. Ashoka’s grandson Dasharatha also used this title in his name in three of his inscriptions. (EVI)


        However, in later Sanskrit usage, the term ‘Devānāṁ priyaḥ ’ came to acquire a sarcastic connotation, generally implying that the person it referred to was a fool. Historian Hartmut Scharfe has speculated that this Indian title may have originated from the Greek equivalent phrase 'friend of the king', which Hellenistic rulers used to confer upon subordinate governors. "But historian Grant Parker has pointed out that this Greek title does not appear in inscriptions, and that the Mauryan emperors likely did not acknowledge the authority of Western Hellenistic kings. Linguist Madhav Deshpande has traced many earlier precedents of this title in ancient Vedic literature. Nevertheless, it stands out as a peculiar and unique designation, which gradually faded after the Mauryan period and eventually took on a tone of sarcasm or ridicule.   

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References: 

Olivelle, Patrick. Ashoka: Portrait of a Philosopher King. HarperCollins Publishers India, 2023.


Sen, Amulya Chandra. Asoka Charita. Reprint ed., Jinaratana Memorial Trust, 1999.


Sircar, Dines Chandra, editor. Select Inscriptions Bearing on Indian History and Civilization: From the Sixth Century B.C. to the Sixth Century A.D. Vol. 1, 2nd rev. and enl. ed., University of Calcutta, 1965.


                  Courtesy: https://images.app.goo.gl/3LHjZ5HZjWddajsV7









Thursday, July 17, 2025

Unseen Divinity: Devotional Worship of the Formless Kālī in Kashiyabari, Cooch Behar.

                                                                    Plate 1 

         Courtesy: https://images.app.goo.gl/MLZfBMDkkaun8yJ8A.


Author - Biswarup Chatterjee.

One of the most significant and interesting folk deity of Kashiabari village under Haldibari block, in the Cooch Behar district (26.38322 °N, 88.77159 °E) is Goddess Kālī, which is in a  formless state and a unique representation of the divine without a physical idol. On the western side adjacent to the Kashiabari market, there stands a century-old temple (plate 1) where this deity is worshipped. Several beliefs and prejudices are prevalent among the locals about the origin of this temple. Though the goddess is worshipped in a formless manner throughout the year, but during the festival of Dīpānwitā (the first day of Diwali) this ancient, south-facing brick temple which is presently in a dilapidated condition, becomes the sacred stage where the goddess Kali is ceremoniously invoked as a beautifully crafted clay idol.


The priest of this temple belongs to the local Rajbanshi community, who usually performs the rituals by following local traditions. The hereditary drummer (dhaki) for this ritual is Amulya Hazra. During the time of offerings of devotion, goats and pigeons are ritually sacrificed in front of the deity in accordance with the vows made by devotees. It is said that a royal guard of the Koch dynasty, named Suryaprasad, built this temple after being blessed with a child following a long period of childlessness. According to the prevalent tradition in every year, though the goddess is worshipped with an idol form during the time of Deepanwita, the crafted clay idol is immersed before sunrise on the night of the ritual and the tradition is still going on. 

                                                            Plate 2
Courtesy: https://images.app.goo.gl/vdQUeyacgP8VN4oB9


Moreover, the local villagers here worship the mythical form of goddess Dakṣiṇā Kālī ( a popular form of the Hindu goddess Kālī, usually shown with her right foot on Lord Śiva's chest and is known for being fierce, but she is also kind hearted and  a protector as well as a giver of gifts. In Shakta traditions (plate 2), especially in Bengal, she is a very important goddess. People often worship her as a household goddess throughout the year on every Saturday and Tuesday at the same empty altar, despite the absence of an idol.  The  priest here, performs the exorcisms and the healing rituals through incantations in front of this deity to get rid of various types of disease. "The Kālī Thakurani of Kashiabari village in the Haldibari block is an example of the Goddess Kālī, worshipped by the Rajbanshi community, where the mantras bear no trace of an imagined or visualized idol.


References 

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.




Tuesday, July 8, 2025

Māṣānkālī of Khalisa Gossanimari: The Unique Cosmic Goddess of Cooch Behar .

       

                                                                 Goddess Kālī

Author - Biswarup Chatterjee 

        One of the most important cosmic goddesses in Cooch Bihar district of West Bengal is Kali Thakurani, the goddess is quite well known and appreciated among the Rajvanshi community of this region. Although the influence of this goddess is not confined soli among the Rajvanshi community, rather the significant influence of this goddess is noticed in the religious beliefs and folk culture of all levels of the district. The goddess Kali was worshiped in various names and forms in Coochbehar as like the other districts of North Bengal. The goddess is quite popular for her various types of name in the Rajvanshi community, such as Syamakali, Bhadrakali, Smasankali, Kancakali etc. but there are differences in the meditation and worship methods of the goddess. At the same time, the meditation mantras as well as the methods of worship are different. 


          In the village of Khalisa Gossanimari, under Dinhata subdivision of Cooch Behar district, the goddess Māṣānkālī is regularly worshipped by the people. The vahana of this deity is a boar, actually the deity is sitting on a boar . This particular form of Kali is quite unique and such uniqueness and variation that it is not found elsewhere in the district. She is the only female deity in the region who commands such reverence—her influence, dignity, and the devotees' deep faith in her divine power surpass those associated with any other deity her

e.

Friday, July 4, 2025

Bhairaba, the Roaring Guardian: Folk Belief and Tribal Worship in Bengal

 

                                                             God Bhairaba 


Author - Biswarup Chatterjee. 


        The sculpture represented by the above mentioned plate is known as God Bhairaba. He is also worshipped as a protector of villages in few parts of Bengal. The appearance of this God is very much fearful and always surrounded by his associates and some sculpture of elephants and horses. Actually, this deity is known as an unscriptural and aboriginal deity. The sculpture is quite similar with some folk deity of Buedwan and Howra district in West Bengal along with the southern part of the country, such as, Babathakur or Pancananda, Tirubayaba etc. the God is probably worshipped by the tribes, mainly santal and also have a similarity with ‘Bābā deo’, the deities of the Vhil tribe. Though he is an unscriptural deity, in spite of that he is glorified in various local literature composed by local poet, which was prevalent in the local area, such as, ‘ Bairaba rankini mahatya’ of poet Dvija Amarendra, moreover few supernatural tale are also attached with the deity as oral literature.

bhūmir bhitar thāki kare bhῑma raba Yāra nāme bhūmikampa seita bhairaba | Ṥrῑ Bhairaba sārā dena guḍa guḍa raba Pargaṇār bhūmi jala kepe othe saba ” “bhūgarbher biṣavaṣpa kari ākarṣaṇa | nitya byoma dehe bābā karen dhāraṇa ||”

‘Grave demented voice underneath the earth shows his presence. His firm footing and roar have shaken the land’. Normally the deity is worshipped with the association of the forest God like Baram, kudra, sini etc, in the inaccessible forest area. 


         Mostly the scorched earthen tiger, elephant and horse are worshipped as symbols of this deity. The complete sculpture is very rare. He is also known as the God of thicket.


        In conclusion, the deity Bhairaba stands as a powerful symbol of indigenous and unscriptural belief systems rooted deeply in the folk traditions of Bengal and its tribal communities. Despite lacking formal scriptural validation, his worship thrives through oral traditions, local poetry, and regional customs, reflecting the spiritual imagination of marginalized societies. With his fierce iconography and forest associations, Bhairaba embodies the awe of nature’s raw force and the mystical bond between the tribal communities and their environment. As both protector and feared presence, he represents a living testimony to the syncretic and diverse religious landscape of rural and forested Bengal, preserving a cultural memory that continues to resonate through local worship practices and folklore.  

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Reference: 

Basu, Gopendrakrishna. Banglar Loukik Devta: Stories of Popular Gods of Bengal. Translated title from Bengali. Published by Sudhangshu Sekhar Dey, Dey's Publishing, 13 Bankim Chatterjee Street, Kolkata 700073.