For me since childhood, Goddess Durga was a power symbol who scared me from all fours. It must have been because of her powerful look, aura, or the stories I heard. I remember seeing her standing victoriously on Mahishasur, and the various references that surrounded it whenever crimes against women took place, it felt like home and it felt that she was one force protecting us women and we could take her form. To realize much later that this divine form of Durga had origins that meant more than just being powerful. In a society where even standing up for themselves is a huge feat for women, the entire existence of Durga was a symbol of divine femininity that was there to shut mouths that restricted women. My particular interest in Durga stems from the fact that she is never shown beside a male deity, like all Sarasvati, Parvati, etc. who are mostly looked at as mere consorts. But the fact that Durga stood all alone on that pyre, killed the buffalo demon, and still wasn’t satisfied goes a long way for the believers in her eternal strength. Sometimes referred to as the goddess of war and strength, Durga brings great respite when feeling downtrodden, not just for women without support, but for everyone who draws strength from the fact that a goddess exists who did everything on her own, for the sole purpose of the protection of this land and stood bleeding among spectators who worship her for her effrontery.

According to Hindu mythology, Goddess Durga was created by the combined energies and divine powers of the trinity of Hindu gods: Brahma (the creator), Vishnu (the preserver), and Shiva (the destroyer). The name Durga in Sanskrit means ‘a fort’, signifying a place difficult to penetrate or tame. This points to her nature as an unbeatable, invincible, and inimitable goddess who is never afraid. In most of her depictions, Durga appears riding a lion or a tiger. She has between eight and eighteen hands, with each one of them carrying a different weapon. Some depictions show Durga as a three-eyed goddess or Triyambake, in concordance with her consort, Shiva, signifying equal strength as a man. Each one of the eyes represents a different level. One reason why Durga is so celebrated is the fact that unlike other goddesses, who are feminine and gentle in their appearance and exude a sense of calm, she is seen as a menace, a threat to the forces of evil, and hence someone to be afraid of. The Navadurga are the nine epithets of Durga, also celebrated during Navratri and the auspicious Durga puja. They are different goddesses that derive from Durga, and that represent her in several stories/forms. There are nine deities in total, and each one of them has a separate celebration day in Hinduism. They are Skondamata, Kusumanda, Shailaputri, Kaalratri, Brahmacharini, Maha Gauri, Katyayani, Chandraghanta, and Siddhidatri.

Very apt to her role as guardian mother protector, Durga is multi-limbed so she is always ready to fight evil from all directions. Her bold pose is called Abhay Mudra, which symbolizes “freedom from fear.” Her left eye represents desire, symbolized by the moon; her right eye represents action, symbolized by the sun; and her middle eye stands for knowledge, symbolized by fire. 

Symbolical representation of Durga:

1. The conch shell iconizes the Pranava or the mystic word Om, which indicates her feeling the divine sound.
2. The bow and arrows represent energy. By holding the bow and arrows both in one hand, Durga establishes her control over both the potential and kinetic aspects of energy.
3. The thunderbolt signifies strength in conviction. Like a strong bolt of lightning, Durga teaches us to take on any challenge without fear.
4. The lotus in Durga’s hand, not yet fully bloomed, represents the certainty of success but not its finality. In Sanskrit, the lotus is called Pankaj, which means “borne of mud,” reminding us not to forget our real and spiritual roots in this material world of lust and other enchantments.
5. The Sudarshan-Chakra, which spins around the index finger of the Goddess, signifies that the entire world is submissive to the will of Durga and at her command. This is her way of saying that ‘right always rules’. 
6. The sword that Durga holds in one hand symbolizes knowledge, which has the sharpness of a sword. The sword is shining, telling that knowledge is free from all doubts.
7. The trident or Trishul is a symbol of three qualities: Satwa (inactivity), Rajas (activity), and Tamas (nonactivity). Durga uses these to alleviate physical, mental, and spiritual suffering.

The above observations tell us how Durga is the OG goddess of all times and also answer why Navratri and Durga puja stir positivity in the entire atmosphere, one of the reasons October is so loved as a month! The most well-known narrative featuring Goddess Durga is found in the text called the Devi Mahatmya, also known as the Durga Saptashati or Chandi Patha. This text is part of the Markandeya Purana and is dedicated to the glorification of the goddess and her victory against Mahishasura, it is a recommendation for the audience to read it once!

Author’s Note

Guncha Shandilya

She is a 19-year-old History student with a ceaseless love for ancient architecture, International relations, and Japanese literature. Through research and writing, she wishes to share her interests with students of her age and aims to be a diplomat in the future. Being a voiceover intern at ILF, she enjoys giving voice to our golden heritage and is on a constant quest for inspiration and projects! She is also a climate advocate and has worked with several international organizations in this regard. Writing is her survival sauce!

Tracing different and varied histories, female deities have been a source of celebration and reverence in multifarious cultures. They stand for wealth, health, prosperity, and auspiciousness. These deities are seminal to cultures because they represent the different Shakti factions of the cosmos and remind the world of the importance of women in framing, forecasting, and foreboding the design of the world.

A unique facet of worshipping female deities is the fact that most people do it to showcase their particular veneration towards female figures who stand for ‘strength in femininity’ and this stems from worshipping various forms of the ‘one for all’ female goddess DEVI, who rules the world and in angry, sad, happy, fertile and isolated in various forms. The term Shakti refers to multiple ideas. Its most legitimate definition is the dynamic energy responsible for the universe’s creation, maintenance, and destruction. It is identified with female energy because Shakti is responsible for creation, as mothers are responsible for birth. Without Shakti, nothing in this universe would happen; she stimulates shiva, which is passive energy in the form of consciousness, to create. Ardhanarishvara, a Hindu deity half male and half female, is the most apt translation of this idea. The deity is half male and female, depicting that the cosmic universe’s creation, maintenance, and destruction depend on both forces.

Amidst all this flurry that categorizes goddesses, one special goddess celebrates the very idea and existence of womanhood, Maa shashthi of the diverse Bengali culture. Maa Shashthi is a lesser-known Hindu folk Goddess – but she remains a guardian angel for many households in Bengal. She is considered an avatar of Durga and is held in high esteem by women. The worship of Goddess Shashthi is a celebration of ‘Matri Shakti,’ or the power of womanhood and motherhood. ‘Shashthi’ means numeral six, this Goddess is worshipped every sixth day of the lunar calendar.

The vehicle of Goddess Shashthi is a black cat. The black cat, no matter how glossy and beautiful, is deemed an inauspicious omen across India and this superstitious belief is still prevalent in Bengal. The Shashthi Panchali that narrates the story of the Goddess transports us back to a village, many years ago, where a couple lived with their sons and daughters-in-law. Every time during puja, the youngest daughter-in-law would steal the fruits and blame it on the black cat. The prayers of the mother-in-law came true and soon the youngest daughter-in-law was expecting her first child. She gave birth to a beautiful baby boy. As the mother and child lay sleeping that night, the black cat stole the boy. The mother woke up to find her child gone. She spent her days in misery and after a year gave birth to another child. The cat stole even the second child. Next year, when she had another baby, the cat stole it again. After delivering seven sons in succession, the helpless woman decided to end her life.

Goddess Shashthi appeared to her and told her that it was a punishment for lying about her black cat. She returned all her children to the poor woman. Most women, no matter how much they dislike cats, will think twice before refusing food to them or daring to mess with a cat. Very few lack the guts to tread the path a cat has taken. Such is the fear of black cats in Bengal, and now I hope the audience is well versed with the century-old myth of the black cat and has equal veneration for Maa Shashthi.

The worship of this Mother Goddess – Shashthi Puja has a different name every month and serves a different purpose. ‘Shashthi’ is also derived from the word “shaat,” signifying blessings. All mothers keep a fast and pray to this deity for the well-being of their children. Interestingly, there are no images of the folk deity. She is usually represented by symbols such as the “ghat” or earthen pot, a stone under a sacred fig or “peepal” tree, or the millstone that is used to grind spices, being a folk deity, she is very popular with the local folk. Some villages have figurines in stone, depicting a very rough feminine form. To date, only two images of Mother Shashthi, dating back to the 12th century AD, have been found in erstwhile Bihar. Both show her as a goddess with a child on her lap mounted on a black cat looking up at her, having its significance.

Known as the Goddess of fertility, procreation, and protector of children, she is much feared and loved by all, a character distinct to only females. Adoration of the Goddess Shashthi starts with a woman getting married. Daily worship ensures that the woman remains fertile and bears as many children as possible. In the olden days, maternal and infant mortality was very high. Few women survived a successful delivery and few infants lived past the sixth-day milestone, so it was deemed important to worship shashthi. Every Bengali married woman prayed for divine intervention. The first five days of an infant’s life were considered the most crucial. On the sixth day, the new mother and her child were made to sit before the Goddess and offer their gratitude to the deity. This sixth-day worship is still considered mandatory in most households and termed ‘shuddhikaran’ or purification.

Author’s note-

Guncha Shandilya

Guncha is a 19-year-old History student with a ceaseless love for ancient architecture, International relations, and Japanese literature. Through research and writing, she wishes to share her interests with students of her age and aims to be a diplomat in the future. Being a voiceover intern at ILF, she is enjoying giving voice to our golden heritage and is on a constant quest for such inspiration and projects! She is also a climate advocate and has worked with several international organizations in this regard. Writing is her survival sauce!

Everyone is familiar with the formidable love story of Bajirao Mastani and how their romantic encounters still echo in the historical and unhistorical corners of Pune alike. Built in the 18th century by Bajirao I – who was the Peshwa or the prime minister to the Maratha ruler – Chhatrapati shahu. The original palace was planned to be a 7-storied stone palace but after the first floor was constructed, there was a hue and cry among people as it was believed that stone palaces were to be built only by the Chhatrapati, not his Peshwa. Due to this extreme public unrest, the rest of the construction of this palace was completed using bricks and wood. The palace stayed with the Peshwas for a long time before it was taken over by the East India Company. Shortly after that, a massive fire, engulfing the palace for over 7 days, razed the entire palace to dust and what surprisingly remains is the stone foundation of it.

The terrifying tale

It is believed that the ghost of Peshwa Narayan Rao roams along the abandoned passage of this palace following his gruesome murder because despite begging for mercy, no help came. The tale starts with Peshwa Narayan Rao having differences with his uncle Raghunath Rao and putting him under house arrest, because of his inheritance to the throne. When the young Narayan Rao inherited the title, the news was not well-ordained by all. A couple of these disappointed individuals were the ambitious Uncle Raghunath Rao and his wife. As soon as the news of his accession to the throne came out, they started to plot the murder of the 18-year-old Narayan Rao. What follows is a creepy murder plot not many would like to read about under complete senses.

“Narayanrao la dhara”. The message meant – “Hold Narayanrao” but before it reached the hunters, the message was changed to  – “Narayanrao la mara” by Raghunathrao’s wife – Anandibai. The message is now meant to kill Narayanrao. With the aid of the Gardis (a tribe of hunters), Raghunath Rao killed the young Peshwa chopped his body into small pieces, and discarded them in the nearby river. Given the poor state of the body, it could not be cremated and was submerged in the river. Because the Peshwa’s spirit wasn’t released properly, he roams around the palace shouting and screaming in low voices – “Kaka Mala Vacchva“.  Meaning “Please save me uncle” – a cry that was ignored by his uncle, when he helplessly ran to him for help.

Many locals still say that sometimes they hear the young Peshwa’s gruesome screams. Entry to the fort after 6:30 PM is strictly not allowed.

It is said that these voices can still be heard on full moon nights. Some have even reported ghost sightings. An inexplicable fire in 1828 broke out during the period the British controlled Shaniwar Wada. The fire razed on for 7 days continuously as talked about in the introduction to the article, destroying all the buildings within the complex. To date, this is the first time anyone has been able to find out how this fire started.

This fire is said to be the last of the five fires that happened in the 1800s. It was the most devastating of them all, leaving behind the cranky remains of the grand structure built and nurtured by the rich Peshwas. Another interesting fact about Shaniwar Wada is how the name came about. Shaniwar means Saturday and Wada refers to a fort or palace. The area around the fort is called Shaniwar Peth. Back in the Peshwas, the local market used to be put up in different wards (peths) on other days. Based on that, the various peths were named after the days and thus, came about Shaniwar Peth, put on Saturday. It was here that Baji Rao decided to build his home and since he laid the foundation stone and had his housewarming pooja on Saturday, the fort was named Shaniwar Wada.

A Glimpse into Maratha Grandeur 

The magnificent Shaniwar Wada fort has been constructed in the most charming Maratha-style architecture, it was initially constructed using stone but respecting, only the lowest level was made using that material. The rest of the complex was finished using bricks and wood. The teak wood for Shaniwar Wada came from Junnar forest while the stone was sourced from the quarries in Chinchwad. The limestone that was used to bind the materials was brought in from Jejuri. The Shaniwar Wada complex included five massive gates, nine bastions, and numerous palaces, much to the envy of enemies. The buildings were planned such that the front courtyard had all the administrative offices while the rear had the residential and entertainment palaces. However, walk around the walls and you will be able to spot some of the faded murals and remnants of the carved banana flower arches – that is typical of the Maratha Imperial architecture. It was back in 1736 when the fort was built and, at that time, it was one of the strongest and most formidable forts around. The residential fort complex saw many chapters of the Peshwas’ rich history where the stories were not only about the brave and influential administrators but also about gruesome deaths and falls and the rise of the Peshwas. One such story is of Narayan Rao. Sadly today, the Shaniwarwada is just another name for snippets of great architecture, remnants of lavish cultures, and most importantly, stories of family union.

Despite the chilling tales that shroud Shaniwar Wada, its architectural grandeur and historical significance remain undeniable. A testament to the Maratha empire’s power and ingenuity, this fortress is a treasure trove for history buffs and heritage seekers alike. Its construction, a monumental undertaking costing a staggering 161,100 Rupees in 1736, stands as a testament to the resilience and ambition of its creators.

References

https://timesofindia.indiatimes.com/travel/destinations/is-punes-shaniwar-wada-really-haunted/articleshow/92863946.cms

https://thrillingtravel.in/shaniwar-wada-haunted-story-pune.html

Author’s note :

Guncha Shandilya

Guncha is a 19 year old History student with a ceaseless love for ancient architecture, International relations and Japanese literature. Through research and writing, she wishes to share her interests with students of her age and aims to be a diplomat in the future. Being a voiceover intern at ILF, she is enjoying giving voice to our golden heritage and is on a constant quest for such inspiration and projects! She is also a climate advocate and has worked with a lot of international organisations in this regard. Writing is her survival sauce!

Do we truly respect our heritage?  

We make many promises as we stretch our right hand and take an oath for the country. One line from the national pledge is dedicated to tradition: “I love my country, and I am proud of its rich and varied heritage.” This points to the level of care that our built heritage requires and deserves. Several old monuments continue to stand tall and enchant visitors with their beauty.

History has gifted us with magnificent architectural works. Centuries back, kings and queens would order the labourers to bring to life their artistic vision. One of the greatest rulers of India, Ashoka met the great Romans and had good relations with the Greeks. In his prime, he erected marvellous structures, including the famous Stambh of Sarnath. Today, we should feel fortunate to witness the legacy of the legendary Mauryan king. Built in the 11th century, Rani ki Vav is a spectacular monument of Gujarat. A stepwell that is fashioned like an inverted temple, the monument remains intact today. Rani ki Vav displays numerous carvings, one casually portraying a woman drying her hair. The hair dryer wasn’t invented until the 19th century. In the past, Indian women might have used a flask containing a few holes. Inside the flask, the aromatic smoke would not only dry the hair but also add fragrance. Rani ki Vav represents a technological achievement in storing water. Another structure demonstrating similar brilliance in craft lies among the Ellora Caves in Aurangabad, Maharashtra. There, one shall find the famous Kailasa Temple, a monolith carved straight from a mountain. Astonishingly, this “island” temple was created with such high precision back in the 8th century. All these structures fill history enthusiasts with delight. Witnessing their splendour, we shall be proud of the artistic legacy of India. These buildings deserve respect, but we find silly scribblings written on the walls or the entrance, which spoil the visitor experience. A masterpiece of the Mughal period, Humayun’s Tomb has become a haven for every photographer because of its symmetrical architecture.

Our forefathers lived through hard times but had a lively vision to create intricate monoliths, temples, mosques, and mausoleums. Apart from the patrons, the talent of the craftsmen of ancient times gave a unique colour to the architectural style of India. In the present, we are blessed with immense resources. What shall be the creation, if the vision of the olden days combines with the abundance of technology available today? The wonder of old monuments deserves our attention. Maybe it is time to distance ourselves from social networking sites and admire the marble used in Taj or the deep black flooring in the Padmanabhapuram Palace. It is a matter of pride that such ideas and excellent skills existed centuries ago. Then why are architectural marvels getting spoilt by the recklessness of people? At times, it appears that foreigners pay more attention to our heritage. What lessons are we teaching to the coming generations? When I visited Shaniwar Wada with my friend, I was heartbroken to see vendors throwing away garbage near the palace.

Still, the local bodies deserve appreciation for certain initiatives. Recently, it was reported that the ancient paintings on the walls of Elephanta Caves were in danger. A study indicated the damage caused by water vapour. It is impossible to control the sea breeze. However, human breath contains a lot of moisture which became the focus of the problem. Local authorities took a sensible step and declared a limited number of tourists per day.

There is hope. Preserving heritage buildings is not the duty of the local governing bodies alone. The responsibility lies on us too. As citizens who take pride in our heritage, we must teach the importance of preserving it to the youth. We must be less ignorant and spread awareness about the vulnerable state of historical architecture. It is important to point out and correct the wrongdoings of the passersby who disrespect the art created by our ancestors. Sadly, people visit old monuments primarily to capture pictures for social media posts. While visiting historical places, we must take a deep breath and appreciate the national heritage; let the old forms of architecture take us back to the times when our forefathers helped India stand with pride, when their mighty swords touched the glory of the sky, and when their brave and handsome horses galloped through the thick mist. Only we, the people, can preserve the honour of the country. Sare jahan se acha, Hindustan hamara.

Karan Sahai

I am an aspiring filmmaker, actor and screenwriter. I love to explore different cultures, appreciate art and have healthy conversations with like-minded people. I am a lover of heritage and like to dive into my world of deep thinking. I like to keep myself active through sports and look forward to experiencing surprises in life.  Maybe we could sit and talk together.