A Festival of Pomp

Date: 27-10-1996 :: Pg: 35 :: Col: a

THE most colourful festival of Karnataka is the Dasara held during September-October in Mysore. Tourists pour into Mysore during the festival not only to witness the grand procession on Vijayadasami day, but also to bask in the beauty of its magnificent palace, a veritable treasure-trove of art and architecture. A well-lit place that glitters during the night thanks to the non-stop illumination. The palace is the venue for all cultural activities connected with Dasara since it has been associated with the hoary past of the Wodeyar dynasty where the people swarm the porticos and lawns of the palace to watch the cultural programmes.

The cultural moorings still pay obeisance to the scion of Wodeyar dynasty because it is they, who brought about the cultural renaissance of Karnataka.

Therefore, the son of Shri Jayachamarajendra Wodeyar, Shri Srikanta Datta Narasimharaja Wodeyar calls the shots in the religious aspect of the festival, while the State Government takes the responsibility to conduct the cultural programmes and the Dasara exhibition.

The conduct of Dasara in Mysore dates back to the days of Raja Wodeyar (1610 A.D.) who dissolved the feudal status of Mysore under Vijayanagar by invading Srirangapatna in 1609 A.D. and defeating the Vijayanagar viceroy, Srirangaraya. Srirangaraya gave him the golden throne, which embellishes the turquoise blue painted amba vilas of the Mysore palace during Dasara. Raja Wodeyar ascended this throne in 1610 A.D. with all pomp and pageantry at Srirangapatna, and inaugurated the Dasara festivities.

The throne is said to have belonged to Dharmaraja Yudhistra of the Mahabharata fame. How it came into the possession of Kampiliraya of Kampili is not definitely known. But he brought it from Hastinapura to Anegondi (Hampi). In 1327 A.D. Kampiliraya fought a fierce battle with Muhammed-bin-Tuglak, and died but not before he hid the throne. It was the philosopher-saint, Vidyaranya Thirtha, pontiff of Sringeri Sankaracharya mutt, whose premonition pinpointed the spot where the throne was hidden, to Harihara (1337-57 A.D.) of Vijayanagar who salvaged it. According to another version the throne is said to be a gift to Chikkadevaraja Wodeyar from Aurangazeb. But this has no concrete evidence. The throne was with Vijayanagar rulers for nearly one- and-half centuries, and on the decline of Vijayanagar empire, it was brought to Srirangapatna by its viceroy. It was with Haider Ali and Tipu from 1761 to 1799 A.D. and was restored to Krishnaraja Wodeyar III in 1799 A.D.

Originally made up of fig wood (Ficus glomerata), the throne was covered with ivory plaques and gold panels. Later on it was completely covered with thick gold sheets and decorated with ornaments with silver figurines. Minor alterations to it were carried out in the forties by the famous sculptor, Siddalinga Swamy. The throne consists of a large seat called ``Kurmasana'' after the tortoise-incarnation of Vishnu, seven steps that lead up to it; and the golden umbrella that holds aloft. The main seat is set on top of four tiers depicting kama, artha, dharma and moksha respectively. The high back of Simhasana is embedded with an icon of Chamundeswari flanked by those of Lakshmi and Saraswathy. The umbrella carries on its rim, strings of pearls, and proclaims to bless the king, who sits on the throne, through the 24 verses in Sanskrit inscribed on it.

On the first day of navarathri, the golden throne is placed in the Amba vilas. The king and the queen, after ablution, a kankana is fied around their wrists. After worship, the king circumbulates the throne thrice; bows to the goddess of the throne, and ascends it amidst vedic chant and to the accompaniment of gun fire. The king and the queen observe total austerity for ten days.

On the tenth day, namely, vijayadasami which symbolically represents the triumph of the righteous over evil forces, the venue for festivities shifts from Amba vilas to Kalyana mantap in the morning and in the evening to palace ground and Banni mantap. Kalyana mantap, an octagonal hall with stained glass ceiling and English mosaic tiled floor built in peacock motif with a balcony all around; the mural paintings of the celebrated artists adorn the walls. This is obviously the best choice for performing the Ayudha puja by the king. Palace officials in their royal dress wearing silken and zari laced turbans assemble beforehand in the Kalyana mantap around 9 a.m. on Vijayadasami day. Just below the panel carrying the mural painting of Ayudha puja, weapons like the swords, bayonets and guns are placed against the wall covered with a velvet curtain, and tastefully decorated with garlands. Puja materials like kum kum, tulsi water are kept in silver cups on a stool. The king seating himself on a silver chair does the puja led by the palace priest. In the courtyard overlooking the kalyana mantap on the northern side a wrestling combat takes place. All these feats last about 15 minutes, and the king led by his retinue gets into the silver chariot for the procession to Trinayaneswarar temple near the northern gate of the palace.

In the vanguard of the procession are the golden palanquin carrying the weapons worshipped in Ayudha puja, caparisoned and decorated elephants, camels and music party comprising nadaswaram and band. The vedic scholars and palace officials follow the chariot. After worship in Trinayaneswarar temple the procession returns to the palace in half an hour. The gaiety, splendour and regality of the procession remind one vividly of the grandeur of the erstwhile monarchical rule.

In the after-noon the procession becomes the centre of attraction which begins from the southern gate of the palace around 3 p.m. and ends at Banni mantap late in the evening. The highlight of the procession is the carrying of icon of Chamundeswari, the family deity of Wodeyars, in the golden howdah on a caparisoned tusker.

The Chief Minister of Karnataka and the Governor participate in the afternoon celebrations. While the Chief Minister receives the guard of honour in the vast palace ground from the cavalry unit of Mysore police, the Governor receives the salute at Banni mantap. Various tableaus and floats depicting the cultural activity of Karnataka, folk dance troupes, fancy dressers, village pipers and drummers in colourful attire participate in the procession. Finally, as the procession peters out, dwaja Nandi puja is performed to Goddess Chamundeswari in the ambari by the Chief Minister. Besides the presentation of guard of honour to the Governor an impressive tattoo by the Karnataka Police and a torch light parade by the cavalry unit of the police are the highlights of the function at Banni mantap. Apart from all these celebrations the yearning of old and young to have a photograph of themselves with the illuminated palace as the backdrop needs a mention.

R. KRISHNAMURTHY