| Shakta Rash | |
|---|---|
 Dumureshwari Mata inNabadwip Rash Jatra | |
| Also called | Pot Purnima, Rash-Kali Puja, Rash Jatra |
| Observed by | Bengali Hindu |
| Type | Hinduism |
| Celebrations | Puja,Boli (Animal Sacrifice) in some places, Processionals, Immersion of idols |
| Observances | To make idols of gods and goddesses with clay and to pay obeisances and worshipShakti inKartik Purnima |
| Begins | Kartika Purnima |
| Ends | After Rash Purnima orKartik Purnima with celebrating immersion namedArong[1] |
| Date | 15 November (2024) 5 November (2025) |
| Frequency | Annual |
Shakta Rash (ISO:Śākta Rāsa;Bengali:শাক্তরাস), also known asRash Utsav, is an annual festival, celebrated uniquely inNabadwip andSantipur of West Bengal. The festival is observed in the month ofKartika inKartika Purnima (the full moon day of Kartika month) ofHindu calendar, which corresponds to November in theGregorian calendar.[2] After the grandeur ofDurga Puja andKali Puja, Rash festival is celebrated as a continuation of devotion ofShakti traditions of Hinduism. While Durga Puja focuses on the worship of GoddessDurga—the embodiment of strength, protection, and cosmic balance[3]—the Ras festival emphasizes devotion toShakti, the divine feminine energy that manifests in various forms, such asDurga,Kali,Lakshmi, and others.[4]
The main features of Shakta Ras are to make large clay idols (murtis) to worshipShakti. The craftsmanship involved in creating the clay idols of the Shakta deities, their religious connotations, and the artist's perfect portrayal combine to give this festival a unique character.[5] Nabadwip's Ras is not just a religious event, but also a cultural celebration, where art, spirituality, and tradition come together in an extraordinary blend. Each idol seems to evoke a powerful invocation of energy, instilling a sense of peace and strength deep within the hearts of the people. Every idol has an artistic design, a variety of imagination, religious discourse, and deep understanding of the scholars, which help entertain innumerable people.[6] CartoonistChandi Lahiri said that the large scale of the clay idols differs from any other festivals, because the idols from Nabadwip is shapely and symmetric despite their light weight and enormous proportions.
Ras festival mainly part ofVaishnavism. During the time ofChaitanya Mahaprabhu, Rash Yatra was started in Nabadwip as a Vaishnava festival. While the Ras festival primarily centers around Vaishnavism, commemorating LordKrishna's divine play, the Shakta Ras reflects a unique integration of Shakta (Goddess-centric) traditions within the Ras celebrations. This syncretism is evident in the worship practices, where deities from both Vaishnava and Shakta traditions are honored, and in the transformation of the festival over centuries. Over time, the Shakta elements gained prominence, showcasing the coexistence of Vaishnava and Shakta beliefs in the local culture.
In the introductory phase, the Ras festival was celebrated through the worship ofpot (painted scrolls). Because of this, Raas Purnima became known among Shaktas as"Pot Purnima".[7][8] But as potters from other regions—especially under the patronage of local royalty, such asMaharaja Krishnachandra, settled in Nabadwip, clay idol worship gradually took root.[9] However, Mohit Ray has mentioned,"The potters of Krishnanagar flourished under the patronage of British officials."[10] Over time, after the period of pot worship, the practice of clay idol worship gradually emerged. This led to the creation of massive and highly detailed clay idols, including both Krishna and Kali figures, with the latter earning the festival name “Ras Kali” puja in popular language.
Before the beginning of the Shakta Rash Utsav, severalKali idols were already being worshipped inNabadwip. According to various schools ofShakta tradition, Bengal has historically been a center forTantric practices. As the influence of Brahmanical culture grew, oppressed people began embracing Tantra closely. From the 12th to 13th century, Tantric practices expanded widely acrossBengal. During this time, accomplished Tantric practitioners devotedly worshipped the goddess, following strict rules and principles. According to tradition, idol worship hadn’t become prominent in Bengal back then. In the 17th century, after the renowned Tantric scholar of Nabadwip,Krishnananda Agamavagisha composed theBrihat Tantrasara, the worship of Kali began to spread in Bengal.[11] However, from the''Kālīsaparyāvidhi'', a text written in 1768 in the mid-18th century, it refers that Kali worship had not yet spread widely in Bengal. Under the direct patronage ofMaharaja Krishnachandra, the widespread expansion of Kali worship took place in this region.[12][13] Krishnachandra introduced at least three Kali worship rituals in Nabadwip during his reign. These include the Alaniya Kali, Baro Shyama Mata, and the Bhadra Kali mata of Charichara Para. Later, his grandson Ishan Chandra initiated several more Kali worships, such as Bhadra Kali of Harisabha Para, and Nritya Kali of Byadra Para. Initially, these Kali goddesses were worshiped on theAmavasya (new moon) night ofDipanwita Kali Puja. However, with the beginning of Shakta Ras, these Kali pujas also started being celebrated on thePurnima (full moon) night of the month ofKartik. These pujas lend antiquity to the Shakta Ras festival of Nabadwip..[14]
In the early 16th century, someVaishnavite scholars started theVaishnavic movement. So it was an obvious conflict withShakta followers who were worshippingTantra.
Documentation of early days of Shakta ras is very rare as flood and earthquake hit several times.[15] Although Girish Chandra Basu and Kanti Chandra Rari gave glimpse of Shakta ras in early days.
Girish Chandra Basu highlighted the first glimpse ofNabadwip Ras. In 1853–1860, he was a daroga ofNabadwip-Shantipur andKrishnanagar. In his bookSekaler Daroga Kahini (published 1888 AD), he wrote various socio-cultural reports along with the geographical location of theNabadwip of that time. He wrote,
During Ras Utsav, people gathered in Shantipur, and similarly, large crowds would come to Nabadwip to witness the "Pot Puja" and enjoy various cultural programs. This Pot Puja is well-known in Nabadwip. Despite its name, Pot Puja involves worship through clay idols of various deities. Among these, idols ofDurga, Bindhyabasini,Kali,Jagadhatri, andAnnapurna are especially popular. These idols are very lightweight; five or six people can easily carry them on their shoulders, and they can even dance with them effortlessly.[2]
Girish chandra Babu's description provides insight into the 19th-century Ras Utsav. Bindhyabasini Mata was worshiped in Purangunge, a place that now lies in ruins. Between 1853 and 1860, he observed Purangunge in its original state. However, in 1871, the Ganges eroded the area, leading to the destruction of Purangunge. The Bindhyabasini deity was then moved to Sribasangan. Due to internal conflicts, the puja committee eventually split into two groups. One group continued to worship Bindhyabasini in Sribasangan, while the other began Gourangini worship near Jognathtala.[16]
Historian Kanti Chandra Rarhi also wrote about Nabadwip Ras in his bookNabadwip Mahima. There he confirmed that Shakta Ras jatra had been celebrated since long year back. He wrote,[17]
Superpower ofHindumythology,Devi Bhagabati has been worshipped in different form inNabadwip during Ras Purnima. Next day after puja, people from the nearest place came to watch idols. AlsoMaharaja of Nadia came to see and he encouraged this festival by giving award for making outstanding idol. For that purpose an organising committee brought there idol in Poramatala. There Maharaj judges the structure of idol, ornaments (called in Bengali as "Saj [সাজ]") etc and then decided the award to best one.
— Kanti Chandra Rarhi
The craftsmanship of the potters ofNabadwip-Krishnanagar is equally renowned both domestically and internationally. The artisans of Nabadwip have left a unique mark in creating massive idols.
CartoonistChandi Lahiri remarked about the glory of theMūrtis worshiped inNabadwip Rash jatra,[18]
In the idols of Nabadwip, the preservation of balance within each part, even amidst their enormity, and the realization of various deities' classical imagery through clay, are simultaneously a marvel and a source of pride for any country in the world.
Dr.Sudhir Chakraborty, educationalist and recharcher of Bengali Folk culture, wrote about the potters of Nabadwip - "The sculptor's skill in shaping the statue's form is beyond question... In this formation lies the pride of ancestral heritage, passed down through generations."[19]
The skill of the potters in crafting extremely large idols is beyond question. While the potters ofKrishnanagar excel at creating small figurines, they cannot craft such large idols. The potters ofChandannagar can create massiveJagaddhatri idols, but they lack proportional harmony, often concealed by the extravagance of"Daker Saj" (Sholapith) decorations. In Nabadwip, however, all clay idols are proportionate, well-structured, and graceful. This artistry reflects the pride of a long-standing, inherited mastery in traditional craftsmanship.[18][20]
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