It has been proposed that Ratha-Yatra be renamed and moved to Rathyatra (Discuss).

The Rath Yatra in Puri in modern times showing the three chariots of the deities with the Temple in the background

Ratha Yatra (Oriya: ରଥଯାତ୍ରା) is a huge Hindu festival associated with Lord Jagannath held at Puri in the state of Orissa, India during the months of June or July. Most of the city's society is based around the worship of Jagannath with the ancient temple being the fulcrum of the area. The festival commemorates Lord Jagannath's annual visit to Gundicha mata's temple via aunt's home (Mausi Maa Temple which is near Balagandi Chaka in Puri).

The Festival[link]

Ratha Jatra Festival in Puri, India. Painting by James Fergusson

Three richly decorated chariots, resembling temple structures, are pulled through the streets of Puri. This commemorates the annual journey of Lord Jagannath, Lord Balarama, and their sister Subhadra to their aunt' s temple, the Gundicha Temple which is situated at a distance of 2 km from their temple. This is the only day when devotees who are not allowed in the temple premises such as non-Hindus and foreigners, can get their glimpse of the deities. During the festival, devotees from all over the World go to Puri with an earnest desire to help pull Lords' chariot with the help of other priests pulling the chariots with ropes. They consider this a pious deed and risk their lives in the huge crowd. The huge processions accompanying the chariots play devotional songs with drums, tambourines, trumpets etc. Children line the streets through which the chariot will pass and add to the mass chorus. The Rath carts themselves are some approximately 45 feet (14 m) high and are pulled by the thousands of pilgrims who turn up for the event; the chariots are built anew each year only from a particular type of tree. Millions of devotees congregate at Puri for this annual event from all over the country and abroad. It is also broadcast live on many Indian and foreign television channels.

Description[link]

The Bada Danda or the Grand Avenue

Ratha yatra, the Festival of Chariot : Chariots of Shri Jagannath is celebrated every year at Puri, the temple town in Orissa, on the second (dwitiya) day of shukla pakshya (waxing cycle of moon) of Ashadh Maas (3rd month in Lunar Calendar). The presiding deities of the Jagannath Temple, Puri main temple, Lord Jagannath, Lord Balabhadra and Goddess Subhadra, with the celestial wheel [ Sudarshana chakra ] are taken out from the temple precincts in an elaborate ritual procession to their respective chariots. The huge, colourfully decorated chariots, are drawn by multitude of devotees on the bada danda, the grand avenue to the Gundicha Temple (Gundicha - King Indradyumna's Queen), two miles away to the North.

On their way back from the Gundicha Temple, the three deities stop for a while near the Mausi Maa Temple (Aunt's abode) and have an offering of the Poda Pitha, which is a special type of pancake supposed to be the Lord's favourite. After a stay for seven days, the deities return to their abode.

Holiness and Its Significance[link]

Rath/Chariots are under construction for the Rath jatra in Puri

The festival is also known as Gundicha Jatra, Ghosa Jatra, Navadina Jatra, Dasavatara Jatra and by a variety of other names. Rathe tu vamanam drishtwa punarjanmam na vidyate: A glimpse of the Vamana, the dwarf form, an incarnation of Lord Jagannatha, is sure to ensure emancipation, release from the cycle of birth and death. Jatra is an essential part of the ritual of the Hindu system of worship. Jatra literally means travel or journey. Normally, it is the representative deities of temples more popularly known as Utsava Murti in south and Chalanti Pratima or Bije Pratima in Orissa, partake in these journeys. The Jatra for the Ritual Journey take two forms – one involving the short circumbulation around the temple and other involving a longer journey from the temple to some other destination. The Jatra is considered as an important part of festivities and ceremonies of each temple and is considered as a special and sacred occasion. Rath Jatra being unique among all Jatras is the grandest festival of the supreme divinity who has manifested himself in the Kali Yuga to emancipate humanity and to relieve them from their sufferings. Lord Jagannatha is identified fully with Krishna. In his original manifestation as Nilamadhaba, he was worshipped in a sacred Nyagrodha Briksha or banyan tree. The branches of the tree had spread for several miles and any one entering this area was instantly emancipated and was relieved of the travails of the birth and re-birth. In fact, the influence of Yama, the God of Death, is supposed to have been curtailed in the sacred city of Puri – Srikshetra on account of the presence of Lord Jagannatha and therefore it is also called the Yamanika Tirtha.

A glimpse of Lord Jagannatha on the chariot is considered to be very auspicious and saints, poets and scriptures have repeatedly glorified the sanctity of this special festival. The sanctity of the festival is such that even a touch of the chariot or even the ropes with which these are pulled is considered enough to confer the results of several pious deeds or penance for ages. In fact, there is a famous Oriya song which says that on this occasion, the chariot, the wheels, the grand avenue all become one with Lord Jagannatha himself.

The concept of the chariot has been explained in the Kathopanishada in the following words-

Atmaanam rathinam viddhi shareeram rathamevatu Buddhim tu saarathim viddhi manah pragrahameva cha. The body is the Chariot and the soul is the deity installed in the chariot. The wisdom acts as the charioteer to control the mind and thoughts.

The Skanda Purana glorifies the sanctity of the Rath Jatra in the following words-

Gundicha mandapam namam jatrahamajanam pura Ashwamedha sahasrasya mahabedi tadadvabat. Those who are fortunate to see the deities of the Srimandira in the Gundicha Temple, the final destination of the procession of the chariots, derive the benefits of a thousand horse sacrifices, an immensely pious deed. Kabi Samrat Upendra Bhanja in his famous Vaidehisa Vilasa mentions that the Lord comes out from his sanctum for participating in the Gundicha Jatra, another name of the Festival of Chariots, only for redeeming the fallen, the patita jana who get the opportunity to behold their dearest god at close quarters on this occasion. Similarly, saint poet Salabega waxes eloquent in praise of the dark Lord Jagannath and says that the Lord swaying and moving like a wild elephant arrives at the Grand Avenue and rides his chariot and destroys in a flash all the sins of his devotees, even if these may be grave or unpardonable.

The Chariots[link]

The three chariots of Balarama, Subhadra and Jagannatha are newly constructed every year with wood of specified trees like phassi, dhausa, etc. They are customarily brought from the ex-princely state of Dasapalla by a specialist team of carpenters who have hereditary rights and privileges for the same. The logs are traditionally set afloat as rafts in the river Mahanadi. These are collected near Puri and then transported by road.

The three chariots are decorated as per the unique scheme prescribed and followed for centuries stand on the Bada Danda, the Grand Avenue. Covered with bright canopies made of stripes of red cloth and combined with those of black, yellow and blue colours, the huge chariots are lined across the wide avenue in front of the majestic temple close to its eastern entrance, which is also known as the Sinhadwara or the Lion’s Gate.

Lord Jagannatha’s Chariot is called Nandighosa. It is forty-five feet high and forty-five feet square at the wheel level. It has sixteen wheels, each of seven-foot diameter, and is decked with a cover made of red and yellow cloth. Lord Jagannatha is identified with Krushna, who is also known as Pitambara, the one attired in golden yellow robes and hence the distinguishing yellow stripes on the canopy of this chariot.

Nandighosa Rath

The Chariot of Lord Balarama, called the Taladhwaja, is the one with the Palm Tree on its flag. It has fourteen wheels, each of seven-foot diameter and is covered with red and blue cloth. Its height is forty-four feet.

Taladhwaja Rath

The Chariot of Subhadra, known as Dwarpadalana, literally "trampler of pride," is forty-three feet high with twelve wheels, each of seven-foot diameter. This Chariot is decked with a covering of red and black cloth - black being traditionally associated with Shakti and the Mother Goddess.

Dwarpadalana or Padmadhwaja Rath

Around each of the chariots are nine Parsva devatas, painted wooden images representing different deities on the chariots’ sides. Each of the chariots is attached to four horses. These are of different colours – white ones for Balarama, dark ones for Jagannatha, and red ones for Subhadra. Each chariot has a charioteer called Sarathi. The three charioteers attached to the chariots of Jagannatha, Balarama and Subhadra respectively are Matali, Daruka and Arjuna.

DESCRIPTION OF CHARIOTS

1) Chariot of Jagannath -NANDIGHOSHA/GARUDADHWAJA/KAPIDHWAJA

Number of wheels : 16
Total Number of wooden pieces used : 832
Height : 13'.5"
Length and breadth : 34'6" x 34'6"
Wrappings : Red, Yellow colour cloths
Guarded by : Garuda
Name of the charioteer : Dahuka
The flag : Trailokyamohini
The horses : Shankha, Balahaka, Suweta, Haridashwa
The rope : Sankhachuda
Presiding Nine Deities : (i) Varaha
                        (ii) Gobardhan
                        (iii) Krushna, Gopi Krushna
                        (iv) Nrusingha
                        (v) Rama
                        (vi) Narayan
                        (Vii) Trivikrama
                        (viii) Hanuman
                        (ix) Rudra

2) Chariot of Balabhadra - TALADHWAJA

Number of wheels : 14
Total Number of wooden pieces used : 763
Height : 13'2"
Length and breadth : 33' x 33'
Wrappings : Red, Bluish green colour cloths
Guarded by : Basudev
Name of the charioteer : Matali
The flag : Unnani
The horses : Tribra, Ghora, Dirghasharma,Swornanava
The rope : Basuki
Presiding Nine Deities : (i) Ganesh
                        (ii) Kartikeya
                        (iii) Sarvamangala
                        (iv) Pralambari
                        (v) Hatayudha
                        (vi) Mrutyunjaya
                        (vii) Natamvara
                        (viii) Mukteswar
                        (ix) Sheshadeva

3) Chariot of Subhadra - DARPADALANA/PADMADHWAJA

Number of wheels : 12
Total Number of wooden pieces used : 593
Height : 12'9"
Length and breadth : 31'6" x 31'6"
Wrappings : Red, Black colour cloths
Guarded by : Jayadurga
Name of the charioteer : Arjuna
The flag : Nadambika
The horses : Rochika, Mochika, Jita, Aparajita
The rope : Swarnachuda
Presiding Nine Deities : (i) Chandi
                        (ii) Chamunda
                        (iii) Ugratara
                        (iv) Vanadurga
                        (v) Shulidurga
                        (vi) Varahi
                        (vii) Shyamakali
                        (viii) Mangala
                        (ix) Vimal

CAR Festival

Chandan Jatra, the Sandalwood Paste Festival[link]

Rath Jatra at Bangalore, India.

The construction of the chariots starts on Akshaya Trutiya, the third day of the bright fortnight of Vaisakha, with ritual fire worship. This takes place in front of the palace of the King of Puri and opposite the main office of the Puri temple. On this day, the new agricultural season starts and farmers start ploughing their fields. This day also marks the beginning of the summer festival of the deities, also known as the sandalwood festival or Chandan Yatra, which lasts for three weeks. In this festival, the representative images of the presiding deities are taken out in colourful processions and given a ceremonial boat ride in the Narendra tank everyday. In an interesting demonstration of the assimilative character of the Jagannatha cult, Madanmohana and Rama Krushna, representing Jagannatha & Balarama partake in the festival with the representatives' images of the presiding deities of five main Shiva temples of Puri. These are curiously known as Pancha Pandava, the five brothers of the Mahabharata story. Later the deities have a ritual bath in a small temple in the middle of the tank, in stone tubs filled with water, sandalwood paste, scents and flowers.

This sandalwood festival culminates in the Snana Yatra, the Bathing Festival on the full moon day of the month of Jestha. On this day, the presiding deities descend from their seats on an elevated platform in the sanctum sanctorum, the bejewelled throne. They are bathed in 108 pots of water brought from the suna kua, the golden well and assume the elephant form on the special bathing platform, close to the Eastern boundary wall of the temple. From that day the deities remain in symbolic and ritual convalescence for about two weeks. They are barred from view of the ordinary devotees. Only three special patta chitras, traditional Oriya paintings of natural colours on cloth stiffened with starch, known as Anasara Pattis, are strung on a bamboo screen hiding the deities from public view, can be seen by the public. During this period, the deities are given only roots, leaves, berries and fruits to cure them from their indisposition. This ritual is a reminder of the strong tribal elements in the genesis and evolution of the Jagannatha cult. The progeny of Lalita, daughter of the original tribal worshipper Biswabasu, chieftain of hunters, and the Brahmin priest Vidyapati, are known as daitapatis or daitas. They have almost exclusive privilege of serving the Lord during the convalescence and through the entire period of Ratha Jatra or the Festival of Chariots.

International Ratha Yatra[link]

Rath Jatra festival in New York City organized by ISKCON

Rath Yatra, Toronto, 2011

The Ratha Yatra festival has become a common sight in most major cities of the world since 1968 through the ISKCON Hare Krishna movement. Its leader A.C Bhaktivedanta Swami Prabhupada successfully transplanted the festival which now happens on an annual basis in places all over the world in over 100 cities including Dublin, Belfast, Birmingham, London, Bath, Budapest, Melbourne, Montreal, Paris, New York, Singapore, Toronto, Antwerp, Kuala Lumpur and Venice, CA.^[1] The Rathajatra in Dhamrai, Bangladesh is one of the most important in Bangladesh.

Service offerings[link]

Jagannath temple employees different kinds of sevakas who offer their services on the Ratha.

• Suara:
• Mahasuara:
• Dahuka: Ratha dahuka/Dahuka recite Dahuka boli (Oriya: ଡାହୁକ ବୋଲି, also "Dahuka gita" (ଡାହୁକ ଗୀତ)) which are poetic recitations. Ratha Yatra being a symbolic expression of fertility and Life cycle, these "boli" sung by the Dahuka contain bawdy songs. It is believed that unless the Dahuka boli is sung 'Ratha' doesn't move.^[2] These songs are sung publicly without any kind of hold on the lyrics.^[3] Dahuka controls the movement of Ratha during the festival.^[4][5]
• Daita pati:
• Puspalaka:

See also[link]

• Jagannath
• Jagannath Temple
• Puri
• Tiruvarur Chariot festival

References[link]

External links[link]

Wikimedia Commons has media related to: Rath Yatra

• Ratha Yatra Festival
• Lord Jagannath Rath Yatra
• Rath Yatra festival
• Ratha Yatra PURI
• Ratha Yatra UK
• When is Rath Yatra? Dates of Rath Yatra until 2010
• Ratha-Yatra (Festival of India) in Toronto
• Facts on Rath Yatra
• Ratha Yatra in Antwerp, Belgium
• LordJagannath Rath Yatra, Puri, Orissa - Information and Video
• Orissa government publication on the event

v t e Jagannath Worship Deities Jagannath Balarama Subhadra Sudarshana Chakra Temples Orissa Puri Gundicha Temple Baripada Koraput Nayagarh Bhubaneswar Kendrapara Chhatia Bata Dharakote Patali Srikhetra India Agartala Delhi Hyderabad Ranchi Abroad Comilla Dhamrai Pabna South Africa Sialkot Festivals and Ceremonies Chandan Yatra Dola Yatra Panchaka Nabakalevara Rath Yatra Snana Yatra Texts Bhagavata Purana Brahma Purana Gita Govinda Kapila Purana Madala Panji Skanda Purana Dahuka boli Devotees Chaitanya Jayadeva Salabega

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (July 2011)

Stephen Knapp
Stephen Knapp assembling a lightpainting, 2006.
Birth name	Stephen Knapp
Born	(1947-10-15) October 15, 1947 (age 64) Worcester, Massachusetts
Nationality	American
Field	Architectural installation, mixed-media sculpture, photography, and ceramics
Training	Hamilton College
Movement	Lightpainting

Stephen Knapp (born 1947, Worcester, Massachusetts) is an American artist best known for his use of the medium of lightpainting He has gained an international reputation for large-scale works of art held in museums, public, corporate, and private collections, which are executed in media as diverse as light, kiln-formed glass, metal, stone, mosaic, and ceramic.

Knapp has written and lectured on architectural art glass, the collaborative process, and the integration of art and architecture. His work has appeared in many publications including Art and Antiques, Architectural Record, ARTnews, Ceramics Monthly, The Chicago Sun Times, Honoho Geijutsu, Identity, Interior Design, Interiors, The New York Times, Nikkei Architecture, Progressive Architecture, Sculpture (magazine), and 90+10.

Life and work[link]

Stephen Knapp was born in Worcester, Massachusetts in 1947, graduated from Worcester Academy in 1965, and received his B.A. from Hamilton College in 1969. For nearly a decade after graduating from college, he worked as a fine art photographer, selling his work to corporate and private collectors in the United States and abroad.^[1] During this early stage in his career Knapp worked closely with Polaroid Corporation on their 20x24 camera, creating large scale instant photographs.

Soon enough, though, photography was not enough. Knapp began to look more closely at permanent materials. Various types of ceramic, mosaic, metal, stone, and glass filled his studio as he developed the innovations for which he is known today—combining mediums and processing techniques and working craftsmen, fabricators, and manufacturers from around the world on an increasingly grand scale.

Stephen Knapp (right) at work on a ceramic mural in Shigaraki, Japan, 1985.

Research took Knapp to Japan in 1985 where he created some of the world’s largest glass-glaze ceramic murals. He had come upon a factory in Japan that made huge photo-ceramic murals, a technique used by Robert Rauschenberg in the early 1980s. Though the photo decal technique seemed tailor made for him, he became fascinated with a thick glass glaze—a crackle glaze—that had been developed for architecture. Changing surfaces to reflect the light was to become a major influence on later work.

The following year he used photo-transfer techniques to define the images to be etched and anodized in aluminum, creating one of the world’s largest etched-metal murals—a 14’ x 72’ piece for the Hamilton County Justice Complex in Cincinnati.

A pattern was now forming—Knapp used the research for one project to enhance the next. When it came time to create two large etched stainless-steel murals for McDonnell Douglas’s Douglas Center in California, he developed a new technique of mixing paints to change the look of the surface depending on the angle of light. The kinetic force of these murals lent a palpable energy to the work. A closer look at the murals reveals his interest in creating illusions of space, which he would later explore in his lightpaintings.

During the 1990s, his increasing fascination with light led Knapp to kiln-formed glass—the heating of glass to take on the shape of a form below, resulting over the decade in large installations across the United States. An acknowledged expert in his field, he frequently wrote and lectured on architectural art glass, the collaborative process, and the integration of art and architecture. In 1998 he authored The Art of Glass for Rockport Publishers.

Also during the 1990s he started spending more time on personal work, creating sculpture as well as furniture from kiln formed glass and steel and hanging pieces of dichroic glass and stainless steel.

Done for the Night, 2008, light, glass, stainless steel, 13' x 12' x 10'.

In 2002, after nearly a decade of development, Knapp introduced his lightpaintings.^[2] No longer hanging glass and steel structures, in these new works the glass was attached to walls with a single light fixture illuminating the entire piece. The light that passed through the various pieces of glass was no longer an effect in space, as it was in the sculptural lightpaintings, but was now simultaneously collected and dispersed on the wall.

In a series of solo shows in 2004 and 2005 Knapp experimented with new coatings and laminating techniques that took him beyond dichroics and increased the range of his palette and gave him greater control in painting with light.

In 2005, he received his first museum commission from the Flint Institute of Arts, Flint, Michigan. Temporal Meditations, a 9’x 30’ installation, became the first lightpainting in a museum collection.

In 2006, Knapp’s first major exterior lightpainting, Luminous Affirmations, a permanent 60’x 100’ exterior installation, was installed on the north face of Tampa, Florida’s City Hall as part of their "Lights on Tampa” program. Large-scale commissions followed throughout 2006, including his Seven Muses, a 35’x 95’ commission for The Charles W. Eisemann Center, in Richardson, Texas, and First Symphony, for the Sursa Performance Hall at Ball State University, Muncie, Indiana.

Installation view at night of First Symphony, 2006, at Ball State University, Muncie, Indiana.

In early 2007, "Stephen Knapp: Lightpaintings" opened at the Alden B. Dow Museum in Midland, Michigan, before traveling to the Butler Institute of American Art, in Youngstown, Ohio, followed in 2008 by the Dennos Museum Center, in Traverse City, Michigan,^[3] and the South Dakota Museum of Art, and in 2009, by the Dahl Arts Center in Rapid City, South Dakota. The exhibit firmly placed lightpaintings at the intersection between painting and sculpture. 2009 saw a commissioned installations and a solo lightpainting exhibit at the Chrysler Museum of Art, Norfolk, Virginia,

Throughout Knapp's career there have constants—a continuous research into materials, a commitment to the techniques and processes involved in enlarging his designs, and an exploration of the historical, cultural, and technical precedents which are the basis for both his personal and commissioned pieces, and, above all, light.

References[link]

External links[link]

• Stephen Knapp website
• Lightpaintings website
• Exhibits Development Group website