The Mahamandap (Great Hall) at the Mahalakshmi Temple in Bandivade, Goa provides a therapeutic escape from many of Goa busy attractions. It is a perfect place to sit undisturbed and commune with the divine. On this early morning, regular devotees went about their prayers silently and tourist laden buses had not yet arrived.

In front of the Deul (Konkani for Temple, also Devasthan), notice the Deepa Stamba (Light tower), a characteristic of Goa Konkani temples. Around the temple are guest rooms for traveling devotees at nominal costs.

The Deul was originally in the village of Kolambe, near present day Colva beach. When the Portuguese destroyed it, devotees smuggled the murthy of Mahalakshmi (Great Lakshmi) first to the town of Talauli (aka Talavali, Talaulim) where it resided in the home of a priest. It was then moved to its present location in Bandivade in Ponda, where a small temple was established in 1866. Upgrades and expansions have occurred ever since. Today it is a magnificent example of Konkani temple architecture in Goa.

Mahalakshmi is respected as a form of Durga Devi, as described in the Durga Saptashati (aka Chandi PaTh or Devi Mahatmyam). Devi is an independent Goddess to whom the Gods turn for help in their hour of need. Mahalakshmi is depicted as the Goddess of Wealth and resides as an independent Goddess and not as a spouse of Vishnu.

A careful observation of shadows will reveal that the following pics were taken in the evening, during an earlier trip. Beautiful, no?

• Ramnathi Devasthan, A Konkani Temple
• Flower sellers at the Ramnathi Devasthan
• Mangeshi Devasthan
• Sacred Places: Avalanche of Christian Aid in India
• Revisionism about the Portuguese Inquisition

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References:
• VN Kudva, History of the Dakshinatya Saraswats, Madras, (1972, 1991).

She charged me 12 rupees for each. I gave her the money. But ever eager to practice my kannada and engage in conversation, I asked here only jokingly why it was 12 rupees here, while it was only 10 rupees in the city. She must have been surprised by my heavily accented and rudimentary kannada, and realizing I was joking, she started giggling. She was completely at a loss of words. I just could not keep a straight face and started to laugh too.

I made small talk, asked her name and generally how many drinks she sold in a day. Her name was Uma and said she sold about a crate (of 12) each day. I estimated she made 4 rupees profit on each bottle, netting her about 50 rupees a day (slightly more than a dollar)! And for that she had to stand in this heat all day! And some one had to drop her here and pick her up in the evening. And she has not yet eaten! Life is tough! But she had a certain calm about her and I think this pic radiates her inner peace. And her confidence!

As I prepared to leave, I asked her again why it was 12 rupees for each drink: yaakae hutnerdu rupaiya?
Now she really burst out laughing, and I laughed with her. After a few moments she composed herself, then lifted the lid of the cooler, pointed inside and with a twinkle in her eyes mouthed a single word: Ice!

For that thirst quenching ice cool drink I would gladly have paid twice as much!

I was gifted this small, yet well done bronze of Uma by my cousin brother Ramnath. He has a good eye for art work.

This is Uma (Parvati) as Shivakami – the beloved of Shiva, in a classic tribhanga pose. This is purported to be a late 18th century reproduction of the 11th century piece from the Kulottunga I era. I have had this for several years and I never tire of admiring it. It is small and fits nicely in the palm of my hand. I am drawn to her graceful pose. I am drawn to her exceptional beauty. I am drawn to the inner calm she radiates! And I am drawn to the confidence she exudes!

The craftsmanship is exquisite for so tiny a piece and we have no idea where this statuette resided for the last several centuries. The sharp features suggest she was not used for any puja. Prolly stayed in a noble household.

It is said that the easiest way to reach Shiva is to appease Parvati (or Uma) and have her champion you to Shiva! Perhaps it is that restlessnes in my heart that draws me to her. I certainly thirst for her grace! And every time my eyes fall on Uma, I know my thirst will soon be quenched.

Wishing you all a Wonderful Dassara

M&A
(murthy of Kamakshi, a form of Durga Devi at the Ramnathi Devasthan in Ponda, Goa.)

Notes excerpted from my book, Prarthana: A Book of Hindu Psalms;
© Arun Shanbhag 2007

Durga Devi
Devi, Goddess, is the oldest Hindu deity. Clay figurines from the 6th and 5th millennium BCE, attests to her antiquity. Today, Devi is worshipped in all corners of India in various forms, such as Bhu Devi – the earth Goddess; the demure Parvati – beloved consort of Shiva; devoted Sita – Rama’s dearest; and Kali – the ruthless avenger. Durga is the ferocious manifestation of Devi and is revered for slaying the tyrannical buffalo demon Mahisasura, liberating heaven from his clutches and restoring order and discipline in the Universe.

In a popular legend from the Devi Mahatmyam – Glory of Devi, the demon Mahisasura defeated Indra, King of Gods, in battle and conquered heaven. The dejected Indra and his retinue of demi-gods wandered earth as mere mortals, and begged Vishnu and Shiva to end Mahisasura’s tyranny. From the intense anger and focus of the united Gods emerged brilliant rays of light, which combined to bring forth the goddess Durga. Each God contributed their choicest weapons to her. Shiva presented her with a trident, Vishnu his discus. Agni the Fire God, presented his spear and Surya the Sun God illumined the pores of her skin, casting a luminous aura around Durga.

Endowed with an assortment of weapons, and the arms and the strength to wield them, Devi challenges the asura army. With blood curdling roars and a defiant laugh, she demoralizes the demon army and systematically decimates them. When Mahisasura attacks her, she destroys his weapons and captures him with her noose. Devi then traps him under her feet and skewers his neck with her spear; when the human form of Mahisasura emerges, she grasps his hair and decapitates him.

The slaying of Mahisasura is commonly depicted in Durga artwork:. Devi posing calmly on the battlefield, with the demon trapped beneath her feet. The red clothing denotes the spilt blood and alludes to her fertility. Durga thus represents the all-compassionate and fertile woman, yet relentless in battle against evil, energetically defending righteousness against injustice. She is simultaneously approachable and displays motherly love and concern for her devotees. Her close association with the earth and its regenerative ability endears her to even the common laborers and farm workers, making the annual Durga puja and festival, widely popular in India’s rural communities.

Notes are excerpted from my book, Prarthana: A Book of Hindu Psalms;
© Arun Shanbhag 2007

Closeup of wall calendars:
From left:
Vishnu and Lakshmi;
Krishna demonstrating his all pervading form and as Arjuna's charioteer;
Saraswati, Lakshmi and Ganapati;
Lakshmi (in a form represeting the divine mother incorporating all the other devis in her! yes, deep)
Venugopal (Krishna playing the flute)

Durga as Mahisasura-mardini, from the cave temples of Badami (6th century)

When members of the extended family leave the community in search of opportunities, they maintain connections to their family gods, also called the Kuladevata. “Kula” refers to the home-base of the extended family community, where the lineage of the family can be traced back to. Thus the Ramnath deity is our family’s Kuladevata. All members of the original community and their descendants are called Kulavis (core family members). All Konkanis will have a Kuladevata Devasthan and are in turn kulavis of that temple.

During the Portugese Inquisition in the 1500’s, all Konkani (and Hindu) temples in Goa were destroyed, and churches built in their place. Many Hindus were forced to convert and many others sacrificed their lives for their faith. Libraries, scriptures and literature were systematically destroyed. Devotees smuggled temple deities to safe haven across the Zuari River in what was then part of Goa ruled by a Muslim Sultan from Bijapur. Many Konkanis escaped with few belongings to start new lives elsewhere. Some migrated north to Maharashtra, and most migrated south and settled along the Karnataka Coast. Konkani communities also settled in Cochin and other parts of Kerala.

Devout Konkanis built small temples in each town they settled and kept their faith alive. With the literature destroyed, a dispersed and migrant community maintained the konkani language as an oral tradition. In the 1700s, the Portuguese ended the Inquisition under threat of the British taking over the colony. A status quo was maintained till 1961 when the Portuguese finally left Goa and it became an Indian state. Konkani is now a recognized distinct language in India.

Konkanis dispersed all over the world, thronged to the remote corners of Goa to pay their respects at their Kuladevata temples. Many maintained in wooden shacks were refurbished. Konkani temples are now thriving complexes, representing a symbol of a resilient people; hard working and god fearing.

Considering the circumstances, Konkani temples rebuilt over the decades are not architectural masterpieces. Further, all modern Konkani temples are not where their original communities grew, but clustered across the Zuari River, within 10 miles of each other.

Under the Portugese rule, devotees visited clandestinely from the surrounding states, often involving day-long walks through forests. Appropriately, Konkani temples provide basic accommodations to their devotees. Today, accommodations have been upgraded, but are still spartan. Devotees can get a very basic room at the temple for between $1-$2 per night. One of Goa’s best kept secrets, I’d say. The temples in Ponda are about an hour from Panji the capital, or from the airport near Madgao.

Every time I visit India, I make a beeline to our kuladevata Ramnathi Devasthan in Goa. It is the tradition at Ramnathi and other Konkani temples, for kulavis to visit the deity as soon as you arrive – even before you wash your feet. We leave our sandals/chappals at the door and with dusty feet rush inside to pay our homage to our father protector, guardian and closest confidante. It is akin to the return of a prodigal son (or daughter) and our father wants to see us ASAP, even before we wash our dusty feet. This first visit is thus called “dhool bhaet” (dusty meeting). Only after we pay our respect to the deity, do we then visit the office, rent a room, freshen up and come back into the temple for a proper service.

Due to the remoteness of the area, there are no restaurants around, but for a small shack serving bananas and cold drinks (see pic of shack in this post). We usually ask and are invited to the priest’s house for a delicious konkani vegetarian meal – served on a banana leaf. Per tradition, we leave a small donation for the priest’s family. Many a times, the temple has open lunches sponsored by devotees.

After spending a few days in the serenity of the temple grounds, I will proceed south to visit our relatives and friends.

After learning the history of the Konkani temples, my visits to our kuladevata have more fervor and passion. A recognition of the sacrifices made by our ancestors, so that we may live with their chosen faith. A re-affirmation of my faith, and importantly … courage. Never again will our homes and places of worship be ransacked; and we be forced to choose between the sword or the cross.

Never Again!

When Shiva, Vishnu and the other Gods were threatened by the demon mahisa, it is Durga, endowed by their weapons and her many arms to yield them, who slays the demon and restores the cosmic equilibrium. Durga is usually depicted as being calm and serene, with the demon trapped under her feet with its throat pierced by her javelin. The depiction of red represents the spilt blood and also alludes to her fertility.

Sri Venkateshwara (Balaji) Temple in Atlanta

The priest granted permission to snap this photo of Durga Devi inside the temple.