The scene represents the Rathjattra, or festival of the chariot, as it took place near Serampore, on the right bank of the Hoogly; and in this manner the ceremonies are performed in innumerable towns and villages in Hindostān; but the place most celebrated for this worship is the Temple of Jaganāth, in Orissa. In the scene representing a nāch, in the house of a Bengalī bābū, you beheld the figure of “Krishnŭ the Beloved” playing on a flute, standing by the side of the goddess Dūrga. At the Rathjattra, Krishnŭ is worshipped as Jaganāth or lord of the universe. In some period of Hindū history he was accidentally killed by a hunter, who left the body to rot under a tree where it fell. Some pious person, however, collected the bones of Krishnŭ, and placed them in a box, where they remained: a king who was performing religious austerities, to obtain some favour of Vishnū, was directed by the latter to form the image of Jaganāth and put inside these bones of Krishnŭ, by which means he should obtain the fruit of his religious austerities. The king inquired who should make this image, and was commanded to pray to Vishnŭ-Kŭrmŭ, the architect of the gods. He did so, and obtained his request; but the architect at the same time declared, that if any one disturbed him while preparing the image, he would leave it in an unfinished state. He then began, and in one night built a temple upon the blue mountain in Orissa, and proceeded to prepare the image in the temple; but the impatient king, after waiting fifteen days, went to the spot; on which the architect of the gods desisted from his work, and left the image without hands or feet. The king was very much disconcerted; but on praying to Brŭmha, he promised to make the image famous in its present shape. The king now invited all the gods to be present at the setting up of this image: Brŭmha himself acted as high priest, and gave eyes and soul to the god, which completely established the fame of Jaganāth. In the Museum is a small fac-simile of this god, which was brought from Pooree, in Orissa; and at its side is the seal with which the Brahmans stamp the worshippers on the breast and arms, and also a figure in black marble of Krishnŭ, highly ornamented. The height of the ruth, or chariot, is forty-two feet, supported on sixteen wheels, and the horses in front are of wood. Ropes are attached to the bars below; and the car, with the monstrous idol within it, is drawn by thousands of frantic devotees. Looking out from the top is seen the head of Jaganāth. The Brahmans adorn him during the festivals with silver or golden hands—an offering of a pair of golden ones is considered an act of great devotion.
One of the Hindū poets, in answer to the question, “Why has Vishnŭ assumed a wooden shape?” (alluding to the image of Jaganāth) says, “The troubles of his family have turned Vishnŭ into wood: in the first place, he has two wives, one of whom (the goddess of learning) is constantly talking, and the other (the goddess of prosperity) never remains in one place: to increase his troubles, he sits on a snake, his dwelling is in the water, and he rides on a bird.” All the Hindūs acknowledge it is a great misfortune for a man to have two wives, especially if both live in one house.
After many ceremonies have been performed, the god is drawn forth in his car, and at the expiration of eight days he is conveyed back to the place whence he came. The natives dance before the car, and the procession is accompanied with drums, tom-toms, horns, and all sorts of discordant native music.
Dancing is considered a religious ceremony among the Hindūs. The Brahmans consider it an act of devotion to the god.
WATER CARRIERS.
The natives of India carry water long distances in a couple of leathern bags prepared for the purpose and hung across a bullock; the behishtī, or water-carrier, by the side of the stream, is filling the skins from his mashk, or water-bag, and another man is bringing up his leathern bag for the same purpose.
An Hindū girl is taking down a large net to the fisherman in the river, where he has just spread his own net. On the top of his head a small basket is fixed, into which he puts whatever he may catch; and floating on the water, attached to his waist by a long string, is a gharā, an earthen vessel, also used as a depository for the fish.
The oolāk is floating timber to Calcutta, secured to her by ropes over the side. She is ornamented by a border of impressions of the human hand in white paint on the side of the stern, and has also an eye painted on each side of her bows; which the Hindūs, like the Chinese, consider necessary, to enable the spirit of the vessel to see its way upon the waters.
