According to the legend, Indrayumna, the king of Malava in Sata Yuga, was a great devotee of Vishnu. Once the king dreamt of Nilamadhava Vishnu and was curious to know where that particular form of the Lord was worshipped. Therefore, he sent his emissaries in four directions to find this.
Brahmin Vidyapati was sent to the east. He came to Utkala and entered Savara village where he took shelter in the house of the Savara King Visvavasu. Lalita, king’s daughter, fell in love with Vidyapati and the latter got married to her to extract information about Nilamadhava.
Visvavasu used to go to the forest every morning to worship Nilamadhava installed in Niakandara (Blue cave). Vidyapati thus coaxed his wife to request her father to allow him to see Nilamadhava. Visvavasu agreed on the condition that Vidyapati will be taken to the shrine and brought back from there with a blindfold.
On hearing this, Vidyapati went to his wife and asked her to make such an arrangement that he may subsequently know the path. Lalita gave him some sesame seeds to be scattered on the side of the road he followed so that he might know the path when sesame plants grew up during the rains.
Accordingly, Vidyapati was taken to Nilakandara where he saw Nilamadhava. Later, when Vasu Savara offered food to the deity, he did not take it as usual to the king’s dismay. At this, a divine voice was heard. It said, “we would no longer continue to be worshipped by you. Oh! Vasu, we will change the present Nilamadhava form and assume Daru form. We shall be worshipped in the temple by Raja Indradyumna”.
The king came back from the blue cave with a very heavy heart losing his deity. Vidyapati too bade farewell to his wife and father-in-law and started for Malava. Having heard the story, King Indradyumna started with his retinue for Utkal to see Nilamadhava. On reaching Nilakandara, he found it vacant. But a voice from the air told him to construct a temple on Nilasaila (Blue Mountain).
Hearing this, the king ordered the construction to begin. On completion of the temple, the king went to Brahmaloka to invite Brahma to consecrate the temple. But, Brahma being in meditation, he had to wait for nine Yugas. The temple thus got buried in sand in his absence.
In the mean time, a new dynasty came to rule at Utkala. Galamadhva, a king of that dynasty, detected the buried temple. He was considering installing images in the temple when Indradyumna with Lord Brahma appeared before him. Both the kings had a tussle over the ownership of the temple. However, Lord Brahma decided in favor of Indradyumna and asked him to install deities in the temple.
Now, the king was at a loss as to where to find the deities from. Therefore, god told him in his dream that he would be floating in the sea in the form of a log of wood. Then Sage Narada assured Indradyumna that Vishnu would appear to him in the temple form of three wooden images.
When a big tree, radiant with light was seen floating in the sea, Narada told the king to make three idols out of it and place them in a pavilion. Indradyumna got Visvakarma, the architect of Gods, to build a magnificent temple to house the idols and Vishnu himself appeared in the guise of a carpenter to make the idols on condition that he was to be left undisturbed until he finished the work.
But just after two weeks, the Queen became very anxious. She took the carpenter to be dead as no sound came from the temple. Therefore, she requested the king to open the door. Thus, they went to see Vishnu at work at which the latter abandoned his work leaving the idols unfinished. But a divine voice told Indradyumana to install them in the temple.
The three idols represent the god Jagannath, his elder brother, Balabhadra and their sister, Subhadra. The wooden idols being worshipped are renewed during special occasions. This wooden idol prepared from a log of wood floating on the ocean finds a mention in the Rig Veda, where it is referred to as Purushottama.anyone who from a distance sees this flag and bows down, offering his prostrated obeisances, shall easily become liberated.” After some time, King Indradyumna became discouraged at so much delay in seeing Sri Nila-madhava. Deciding that his life was useless, he lay down on a bed of kusha grass, being determined to give up his life by fasting. At that time Lord Jagannatha spoke to him in a dream as follows: “My dear King, don’t be anxious. I shall come floating in from the sea in My wooden form as Daru-brahman at the place called Bankimuhan.” With a company of soldiers, the King then went to that place and saw on the shore a huge piece of wood marked with a conch, disc, club and lotus. Although he engaged many men and elephants to move that Daru-brahman, or woody Brahman, they couldn’t even budge it. But that night in a dream Lord Jagannatha again spoke to the King, saying, “Bring My previous servant Vishvasu, who used to serve Me as Nila- madhava, and place a golden chariot in front of Daru- brahman!”
The King began to work according to the instruction of that dream. He brought the Sabara Vishvasu and put him on one side of Daru-brahman, and on the other side he put the brahmana Vidyapati. Placing a golden chariot before the Daru-brahman, he then started kirtana, chanting of the holy names of the Supreme Lord. Then the King caught hold of Daru-brahman and prayed for the Lord to mount the chariot. Daru-brahman was then easily placed on the chariot and taken to an appointed place. There Lord Brahma began a sacrifice and established a Deity of Lord Nrisimhadeva on the raised platform of the sacrifice. It is said that the place where the present temple stands is the place where the sacrifice was performed and that the Nrisimha Deity now standing at the western side of the Mukti-mandapa in the temple compound is that original Nrisimha Deity.
To carve the Deity of Lord Jagannatha from the Daru- brahman, King Indradyumna called many expert sculptors. None of them, however, was able to touch Daru-brahman, for as soon as they started, their chisels broke and fell to pieces. Finally the Supreme Lord Himself came in the disguise of an old artist who introduced himself as Ananta Maharana.* [According to the Narada Purana (Utkala Khanda 54.22-65), the artist Vishvakarma, the architect of the demigods, carved the Deities in pursuance of the desire of Lord Vishnu, who had assumed the form of an old brahmana.] He promised that if he were allowed to work behind closed doors for twenty-one days, the Deity would be carved. Immediately preparations were made. According to the old sculptor’s directions, all the other artists were engaged in making three chariots. The old sculptor then took Daru-brahman into the temple and closed the doors, after making the King promise that the sculptor would reside alone and the King would not open the doors of the temple even slightly before the twenty- one days were up. After fourteen days had passed, however, the King was unable to hear the sounds of the artist’s tools, and so he became full of anxiety. Although his minister again and again forbade him, the King, on the advice of his queen, by force opened the door of the temple with his own hand.
Inside, the King did not find the old sculptor, but instead he saw that Daru-brahman was manifested in three forms, as Lord Jagannatha, Subhadra and Balarama. Going forward in front of these three Deities, he saw that Their fingers and toes were unfinished. The King’s wise minister then informed him that the architect was none other than Lord Jagannatha Himself and that because the King had broken his promise by opening the doors seven days too soon, Lord Jagannatha had manifested Himself in that way.
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