New Delhi, Oct. 17 -- As the monsoon retreats and the skies over Bengal-and different parts of India-turn a clear, luminous blue, a quiet transformation sweeps through the landscape. The air grows crisp, carrying the faint, earthy scent of wet soil drying under a gentle sun. The feathery plumes of kash phool (wild sugarcane grass) begin to sway, their silvery-white blossoms signalling the arrival of 'Sharad', the autumn season. For Bengalis, this is not merely a change in weather. It is a divine announcement. The kash phool is the traditional herald that Maa Durga is preparing to descend from her celestial abode on Mount Kailash to her parental home on Earth. The markets buzz with energy as families shop for new clothes, and the rhythmic, thunderous beat of the dhol (drum) begins to echo from the workshops of idol-makers in several parts of the country, building an anticipation that culminates in the world's largest art festival, Durga Puja.
The Mythological Homecoming - Aakal Bodhon
At the heart of Durga Puja lies the poignant narrative of a mother's annual visit home. According to Hindu mythology, Durga, the Divine Mother and slayer of the demon Mahishasura, resides with her husband, Lord Shiva, on Mount Kailash. However, once a year, during the month of Ashvin (September-October), she travels to her father's house in the Himalayas. This celebration is technically known as Aakal Bodhon, or 'untimely invocation', because the goddess was traditionally worshipped in the spring (Basanti Puja). Legend says that Lord Rama invoked Durga in autumn to seek her blessings before his battle against Ravana, thus establishing the tradition of autumnal worship. For five days-Maha Shashthi, Saptami, Ashtami, Navami and Dashami-the goddess is welcomed with her four children-Lakshmi, Saraswati, Kartik and Ganesha. The festival is a celebration of Shakti (divine feminine energy) and the eternal victory of good over evil, marking a time when the boundaries between the divine and the mortal blur, and the goddess walks among her devotees as a beloved daughter.
A Historical Evolution of Durga Puja
The Durga Puja we witness today as a vibrant, chaotic and artistic carnival is the result of centuries of evolution. Its roots can be traced back to the Bonedi Bari (aristocratic family) pujas of the 18th and 19th centuries. Wealthy zamindars (landlords) and merchants, such as those associated with Sovabazar Rajbari (established in 1757 by Raja Nabakrishna Deb) and the Rani Rashmoni family, hosted grand, private rituals in their courtyards to display piety and social prestige. These early pujas were exclusive, steeped in rigid orthodoxy, and served as tools of cultural diplomacy, where British officials and Bengali elites mingled. National leaders like Subhas Chandra Bose utilised the festival to rally patriotic resistance against British colonial rule.
The democratisation of the festival began in 1761 in Guptipara, Hooghly (in present-day West Bengal), when twelve friends, barred from a family puja, organised their own community celebration, giving birth to the Barowari ('twelve friends') tradition. This Sarbojanin ('for all people') Puja concept took root in Kolkata in 1910, transforming the festival from a private aristocratic affair into a public, inclusive event. The late 20th century, particularly the 1990s, witnessed another revolution-the 'Theme Puja'. Artists like Bhabatosh Sutar and Susanta Paul began constructing elaborate pandals (temporary structures) that mimicked famous monuments, addressed social issues or showcased intricate art, turning Kolkata into an open-air gallery. In 2021, UNESCO recognised Durga Puja as an Intangible Cultural Heritage of Humanity, cementing its status as a global attraction that draws tourists and artists from around the world.
While the 1960s and 1970s saw early experiments with folk traditions and monument replicas, the true catalyst was the introduction of the Asian Paints Sharad Shamman awards in 1985. This corporate recognition brought corporate funding and intense creative competition into the festival, prompting community committees to hire professional fine arts graduates. By the turn of the century, this competitive drive had completely transformed neighbourhood pandals into comprehensive, holistic art installations, where the architecture, lighting, ambient soundscapes and clay idols were unified to tell a single global, social or historical story.
Kolkata's Bonedi Bari: A Living Heritage of Traditions
Despite the dazzling lights and elaborate themes of modern Durga Puja pandals, the timeless soul of the festival still lives in the Bonedi Bari pujas of North Kolkata, where centuries-old traditions continue with quiet dignity. In ancestral homes such as Janbazar Rajbari of Rani Rashmoni, Sovabazar Rajbari, Thanthania Dutta Bari and Metiabruz's Wajid Ali Shah Bari, the worship of Goddess Durga follows rituals passed down through generations. The traditional Ekchala idol, framed within a single structure, and the graceful Daaker Saaj, made with silver foil, preserve an aesthetic rooted in the past. Vedic mantras, age-old customs and traditional bhog (offerings), including fish and meat in some households, remain central to these celebrations. Here, Durga Puja is less a spectacle and more a sacred family responsibility-a living heritage where faith, memory and tradition quietly come together, keeping alive an unbroken story of devotion across generations.
The Real Agomoni and Other Rituals
The true spirit of Durga Puja for a Bengali begins not with the first drumbeat, but weeks in advance, in the bustling markets where families hunt for the perfect new outfit, believing that wearing fresh clothes on the days of the goddess brings prosperity and wards off the old year's lethargy. This festive fervour reaches its emotional peak with the arrival of 'Mahalaya', when the soulful, baritone voice of Birendra Krishna Bhadra, chanting the 'Mahishasura Mardini Stuti', first broadcast in 1950, fills every radio and smartphone in the early hours before dawn breaks-signalling the official start of 'Agomoni', the goddess's descent-as Jago Durga, Jago Dashapraharanadharinee Tumi Jago (Awake, Goddess Durga; awake, the one who holds ten weapons) echoes and reverberates.
Over the five days, the atmosphere comes alive with a rich mix of cultural programmes-from the traditional beats of the dhak to lively modern band performances. Yet, the most touching moments remain deeply connected to tradition. At dusk, the 'Sandhya Aarati' (evening prayer) begins, accompanied by the graceful 'Dhunuchi Naach', in which devotees dance with earthen incense burners filled with coconut husk and camphor. The soft glow of oil lamps, the fragrance of incense and the rhythmic sounds create a magical atmosphere, bringing devotees closer to the divine.
On the final day, Dashami, married women spectacularly partake in 'Sindoor Khela'. On this final morning, married women, dressed in their finest white saris with red borders, gather before the idol to smear vermilion (sindoor) on each other's foreheads and on the goddess's feet. It is a vibrant, joyous celebration of womanhood and marital bliss, before the tearful immersion sends the Mother back to Kailash, leaving behind a city that feels both emptied and eternally blessed.
The Nine Nights of Navratri
While Bengal and most eastern parts of the country celebrate the five-day homecoming of Durga, the rest of India observes Navratri, a nine-night festival dedicated to the worship of the 'Divine Feminine' in her various forms. The word Navratri literally means 'nine nights' in Sanskrit, and the festival occurs twice a year, with Sharad Navratri in autumn being the most significant. During these nine days, devotees worship nine different manifestations of Adi Shakti (the primordial energy), including forms of Durga, Lakshmi and Saraswati.
The festival commemorates Goddess Durga's epic nine-day battle against the buffalo demon Mahishasura, culminating in his defeat on the tenth day, celebrated as Dussehra or Vijayadashami. In many regions, particularly Gujarat and Maharashtra, Navratri is marked by energetic folk dances like Garba and Dandiya Raas, where communities gather in colourful attire to dance in circles, celebrating the vibrancy of life and the power of the goddess. In South India, the festival is observed by setting up Golu (displays of dolls) and worshipping young girls-as in the North-as embodiments of the goddess. Despite regional variations in rituals and customs, the core essence remains the same-that of reverence for the feminine divine as the source of all creation, preservation and destruction, and the celebration of the triumph of righteousness over evil.
The Evolving Decor
In contrast to the traditional rituals of the past, the theme pandals of Kolkata and many other places have today become stunning works of art. They are no longer just temporary structures for worship; they have evolved into large, open-air art spaces that combine creativity, architecture and social messages. Some pandals recreate the beautiful carvings of the Konark Sun Temple, while others portray the ruins of war-torn Syria or highlight issues such as climate change, rapid urbanisation, human rights and other social concerns. Artists and craftsmen often spend months creating these imaginative spaces-sometimes incorporating 3D designs-using materials such as bamboo, clay and recycled waste. With creative lighting, music, sound and innovative designs, these pandals offer visitors an unforgettable experience. In this way, the festival has grown beyond a religious celebration to become a living expression of art, imagination, social awareness and the creative spirit of humanity.
Conclusion
Durga Puja is a testament to the ability of tradition to evolve without losing its essence. From the quiet, ritualistic courtyards of the Bonedi Baris to the dazzling, theme-based Sarbojanin pandals that attract global attention, the festival encompasses the entire spectrum of human expression. The transformation of Durga Puja into an avant-garde art festival is a celebration in which the ancient beats of the dhol synchronise with the modern pulse of urban art, and where the devotion of ancestors coexists with the environmental consciousness of the present, alongside architectural illusions and emotionally resonant narratives.
As the kash phool blooms each autumn, it reminds us that while the forms of celebration may change, the core spirit of welcoming the Divine Mother remains an unbroken, vibrant thread in the cultural fabric of Bengal and India as a whole.
Published by HT Digital Content Services with permission from Millennium Post.