Recently, I had the privilege of visiting Puri for the Pati Dian Darshan, just two days after the grand Snanapurnima festival. This time of year, Puri exudes a unique charm, especially with the chariot-making process in full swing. The Trinity deities—Lord Jagannatha, Balabhadra, and Subhadra—were in quarantine, recovering from fever after their elaborate ritual bath, resulting in fewer visitors at the temple.In front of the Shri Nahara, at the bustling Ratha Khala, I witnessed an extraordinary scene. Carpenters were engrossed in their tasks, their hands moving with a rhythm that spoke of centuries-old traditions and unmatched expertise. The atmosphere was charged with devotion and the sounds of chiseling and hammering filled the air. It was awe-inspiring to see the artisans meticulously crafting the towering chariots, each stroke of their tools a testament to their dedication and skill.
Every year, as the monsoon winds begin to sweep through the ancient town of Puri, a palpable sense of excitement fills the air. It is the time of the grand Ratha Yatra festival, a nine-day spectacle where Lord Jagannatha, accompanied by his elder brother Balabhadra and younger sister Subhadra, journeys from his 11th-century shrine to the Gundicha Temple, three kilometers away. This journey is nothing short of a grand celebration, deeply rooted in ancient texts like the Brahma Purana, the Padma Purana, the Kapila Samhita, and the Skanda Purana.
Witnessing the making of these colossal chariots is an awe-inspiring experience. It’s not just about the construction; it’s about the sheer dedication and the intricate craftsmanship that goes into it. Each person involved knows their role to perfection, ensuring the smooth execution of this massive project. The chariots are a blend of architectural marvels and spiritual symbols, towering over the crowds with their majestic presence. They mirror the pidha and rekha styles of Odishan temple architecture.
The journey of creating these chariots begins on Akshaya Tritiya, a day considered the most auspicious in the Hindu calendar. It’s fascinating to see the traditional rituals performed by the temple priests, granting permission to the Chief Carpenter to commence the work. The methods and skills are passed down through generations, and watching the carpenters at work is like stepping back in time. The process involves a collaboration of carpenters, blacksmiths, painters, tailors, and various other skilled individuals, all working under a strict deadline of 58 days.
The chariot of Lord Balabhadra, known as Taladhwaja, stands at 13.2 meters tall, adorned with a red and green canopy decorated with vibrant applique embroidery. The four black horses—Tribra, Ghora, Dirghasharma, and Swarnanava—add to its grandeur. The chariot of Lord Jagannatha, called Nandighosh, is the tallest at 13.5 meters, covered with a yellow and red canopy and drawn by four white horses—Shankha, Balahaka, Shweta, and Haridashwa. Devi Subhadra’s chariot, Debadalana, at 12.9 meters, is decorated with a black and red canopy and drawn by four red horses—Rochika, Mochika, Jita, and Aparajita.
What’s truly remarkable is the sheer volume of materials used. Approximately 1,250 meters of cloth cover the three chariots, meticulously stitched by the Darji Sevaka. Around 4,112 pieces of wood, primarily sourced from the ex-princely state of Dasapalla, are used. Each species of wood—Phasi, Dhaura, Asana, Debadaru, Gambhari, Simili, Mahi, and Kadamba—has its specific purpose, contributing to the robustness and beauty of the chariots.
The process begins with the wheels, the heart of the chariots. Watching the craftsmen carve the center of the wheels (Tumba) and the gujas, the supporting pillars, is mesmerizing. The gujas are of two types: Kana guja and Jalla Jantra. On the auspicious day of Nrusingha Chaturdashi, an image of Lord Nrusingha is carved on each guja. The 16 spokes (Ara) are then fixed to the rims (Pahi), a process that involves digging trenches (Janta Gada) of 40 feet in length and seven feet in depth.
The next step involves fixing the wheels to the Dhaura wood axle (Akha). There are four types of axles: Nahaka, Pari Nahaka, Bada Uchhala, and Sana Uchhala. The number of axles varies for each chariot—Taladhwaja has seven, Nandighosa has eight, and Debadalana has six. Each step is accompanied by rituals and offerings, adding a spiritual dimension to the craftsmanship.
The frame (Danda) is then fixed between the wheels, mounted on the axle, and organized in an octagonal shape. Taladhwaja and Nandighosa have 11 Danda each, while Debidalana has nine. Watching the craftsmen fix the 40-feet-long pieces of wood, called Gayala, in a crisscross mode to form the platform is a testament to their skill and precision. The base (Garagara) is then mounted, and various vertical and horizontal beams, along with columns, are fixed to give the chariots their temple-like shape.
The topmost part of the chariots is built to resemble an Odishan temple. Wooden plates (Potola) are joined to form a square-like structure, and after setting layers of Potola and Parabhadi, the structural formation is nearly complete. The final touches include fixing a pot (Kalasa) on top, with two parrots on either side.
The intricate decorations by the Chitrakara Sevaka bring the chariots to life. Watching them paint the wheels, decorate the structure with floral motifs, swans, and the eight-petalled inverted lotuses is a visual treat. The vibrant colors and beautiful designs add to the festive atmosphere. The chitrakara sevakas also paint the wooden carvings of the charioteers, guards, side images, and many more elements, enhancing the chariots’ beauty.
As the final preparations are completed, anticipation builds for the grand procession. On the day of the Ratha Yatra, thousands of devotees gather to pull the chariots with coir ropes named Sankhachuda, Basuki, and Swarnachuda. These ropes, 250 feet long and eight inches in diameter, are provided by the State Coir Board each year.
It’s fascinating to note that new chariots are constructed every year and demolished after the festival. Only the uppermost portion, the nine wooden painted small idols, and the wooden horses are retained for future use. This annual renewal symbolizes the cycle of life, death, and rebirth.
The making of the chariots for the Ratha Yatra is more than just a display of craftsmanship; it’s a harmonious convergence of ancient technical expertise and spiritual devotion. Witnessing this process is like being a part of something timeless and profoundly sacred
