Flight of Gods - Hindu Temples & Shrines of Goa

http://biodiversity-mohanpai.blogspot.com/
For some key chapters from my book "The Western Ghats", please log on to:http://westernghats-paimohan.blogspot.com/

For detailed blog (6 Chapters from my book) on Mahadayi/Mandovi River Valley, please log on to:http://mohan-pai.blogspot.com/

For the book 'The Elderly' please log on to:

http://oldagecare-paimohan.blogspot.com/
http://omashram.sulekha.com/blog/posts.htm
You can also access my blogs on Sulekha and Wordpress:
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For my book "The Flight of Gods - Hindu Temples & Shrines of Goa" please log on to:
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Flight of Gods 35. Devachirai (Sacred Groves)

2009-06-17T07:13:00.001-07:00

The Flight of Gods

by Mohan Pai

Forests have been the lifeline fo tribals and other forest dwelling communitiesr since distant past. Communities have been setting aside certain patches of land or forest dedicated to a deity or village God, protected and worshipped called Devachirai in Goa. Goa had an extensive distribution of the sacred groves and few have survived till today. Most of the sacred groves that have survived are in Sattari and Sanguem talukas. Ranging in size from less than a hectare to many hectares, sacred groves are often the only remaining haven for plants and animals in areas with destruction of their natural habitat. Ajobachi Rai in Sattari taluka is the largest sacred grove in Goa spread over 10 ha.

Icons worshipped in a sacred grove in Sattari - photo by Mohan Pai

Devachirai or the Sacred Groves are more or less pockets of climax vegetation preserved on religious grounds. Several such pockets are located in remote tribal areas of the Western Ghats and Goa has quite a number.The ’protection’ tradition originally forbade any interference with the biota of the grove in any way whatsoever, and not even the leaf litter could be touched. Grazing or hunting was not allowed within the grove and hence they represented a sample of vegetation in its climax state. In view of the protection and optimum growth condition prevailing in the sacred groves some arboreal species exhibit their grandeur and become a fascinating sight. Earlier, human beings relied on sacred groves for the supply of various medicinal plants, shrubs and creepers. In order to pluck these plants they had to perform some rituals to please the forest God. Even today, in the remotest parts of Goa, locals who are still far away from any rural health services, go to these sacred groves for herbal medicines.

In many villages, locals believe that the forest Goa or spirit would get offended if the trees are cut, flowers or fruits are plucked or if the animals inside the sacred forest are harassed or killed. That is why these groves are not molested and are well preserved. The sacred groves are traditional institutions, deeply involved in the conservation of not only few individual species in isolation but also the ecosystems at large.Niramkarachi Rai - the sacred grove at Nanode, Sattari - photo by Mohan Pai

Bambar

The Sacred Grove located at Bambar in Satari Taluka is the abode of rare medical plants. This forbidden spot is a refuge for a unique forest community and it is classified as Myristica Swamp Forests having great ecological significance. The trees have unusal aerial roots which are analogous to pneumatophores or stilt roots of mangrove forests. The area of the grows is about 0.25 ha of undulating terrain and is situated 11 kms from the Goa - Karnataka border.Historical PerspectiveThis grove is known to exist for the last 250 years and the reigning deity is the God ‘Nirankar’, who is worshipped by the people of three villages namely Maloli, Ustem and Nanode. Their deep rooted religious belief strengthened by the cult of nature worship, has ensured that the vegetation remained more or less untouched for the last 40 to 50 years.People of these three villages used to assemble at the site during the years gone by to venerate the Lord “Nirankar” who is considered the ‘Rakhandar’ (Protector) of these villages. After the sacrifice, the ritual is performed and food is cooked, but only the male members eat the preparation. These customs and rituals have now been neglected due to the changing life style of the people and other pre-occupation for their material gains.VegetationThe natural vegetation of the area is of tropical hill forest dominated by evergreen broad leaved species. The floral composition of the grave shows the presence of the following plant species: Alstonia scholaris, Artocarpus hirsuta, Calamus thwaitesii, Calophyllum inophyllum, Combretum sp., Canarium strictum, Holigarna arnottiana, Holigarna grahamii, Hydnocarpus laurifolia, Lophopetalum wightianum, Machilus macrantha, Myristica malabarica, Piper nigrum, Stereospermum personatum, Osbeckia sp, Tetrameles nudiflora, etc. In addition, there are several species of algae, lichens, epiphytes and under growth plants which are yet to be identified.One of the unique features of the trees in this habitat is the presence of numerous aerial roots in the shape of “U” arching over the mud. These roots resemble a knee when the leg is folded. The ecological significance of these peculiar knee roots is an adaptation or reaction to overcome environmental stress. Presumably this is two fold - one in which the plants overcome poor anchorage in a soft bed; and two ensuring root aeration when oxygen is not available in the soil. In either case it is analogous to the adaptations found in mangroves. The knee roots suggest the presence of an underground stream creating conditions similar to those of mangrove swamps.
Bambar is located approximately 60 kms. from Panaji on the Valpoi-Nanode road and is easily accessible.

Nirancarachi Rai

It is an unique Micro-climatic ecosystem with Myristica Swamp forests located at Nanoda in Sattari taluka. It covers 0.2ha. Area duly protected from all the encroachments and disturbances by fence. It has characteristic of swamp forests, which is found at present only in Kerala State. Nirancarachi Rai is a sacred grove which is comprising of about 19 different evergreen species and has the roots protruding out gaining inverted ‘U’ shaped which is a characteristic of myristica swamp forests. The place is also of great educational interest and worth seeing and studying the phenomena of nature. From Valpoi 15Kms Via Nagargao-Sattari.

List of the Sacred Groves in Goa:

Rashtroli Pernem Gavadewada (Mandrem), Kurlyachi wadi Pernem, VarkhandShevro Bicholim, Kharpal, Sidhdachirai Bicholim Vadawal, Ajobachirai Sattari Keri, Maulichirai Sattari Vagheri (Keri), Pishyachirai Sattari Keri, Sidhdachirai Sattari Morle, Devachirai Sattari Saleli (Onda)Devachirai Sattari Nagve, Holayechirai Sattari Caranzol, Ajobachitali Sattari Brahmakarmali, Devachirai Sattari Koparde, Dhupachirai Sattari Derode, Devachirai Sattari Satre, Poshyachirai Sattari Bondir, Devachirai Sattari Shelop – Khurd, Devachirai Sattari Surla, Nirankarachirai Sattari Bambar–Nanode, Devachirai Sattari Thane, Devachirai Sattari Pali, Devachirai Sattari Shel – Melavali, Devachirai Sattari Shiranguli, Devachirai Sattari Assodde, Devachirai Sattari Malpona, Devachirai Sattari Shirsode, Devalachemol Sattari Dabe, Devachirai Sattari Bhironde, Devachirai Sattari Golauli, Devachirai Sattari Mauxi, Devachirai Sattari Ivre – Budruk, Devachirai Sattari Ivre – Khurd, Devachirai Sattari Pendral, Avali Dano Canacona Cotigao,

Kuske Dano, Canacona, Cotigao, Badde Dano Canacona Cotigao, Paikapann Sanguem, NeturlimPaikapann Sanguem, SalginiPaikapann Sanguem, KumbhariPaikapann Sanguem, Bhati, Devadongor Sanguem, RivonVasantagal Sanguem, Rivon Patryatali Devrai Sanguem Rivon, Vaghryapann Sanguem, Rivon, Paikapann Quepem, MorpillaPaikapann Quepem, CazurBetalapann Quepem Barce, Vaghryapann Quepem Barce, Gadgyapann Quepem Barce, Siddhmaddi Quepem Barce, Shivapann Quepem Barce, Devipann Quepem Barce, Mahadevapann Quepem Barce, Durgadevipann Quepem Gokulde, Devatipann Quepem Bennudde.

MY BLOG LIBRARYFor some of my articles visit:

http://biodiversity-mohanpai.blogspot.com/

http://delhigreens.com/2008/03/10/whither-the-wilderness/

For some key chapters from my book "The Western Ghats", please log on to:http://westernghats-paimohan.blogspot.com/

For detailed blog (6 Chapters) on Mahadayi/Mandovi River Valley, please log on to:http://mohan-pai.blogspot.com/

For the book 'The Elderly' please log on to:http://oldagecare-paimohan.blogspot.com/
http://omashram.sulekha.com/blog/posts.htm
You can also access my blogs on Sulekha and Wordpress:For my book "The Flight of Gods - Hindu Temples & Shrines of Goa" please log on to:
http://mohanpai.sulekha.com/blog/posts/pageno-1.htm http://flightofgods.sulekha.com/blog/posts.htm
http://flightofgods.blogspot.com/

http://mohanpai.wordpress.com/

The Flight of Gods 34. Gomanteshwar Temple, Brahmapuri

2009-06-04T07:55:00.000-07:00

The Flight of Gods
by Mohan Pai

Sri Gomanteshwar Temple

Brahmapuri (Old Goa)

photo by Mohan Pai

The temple of Shri Gomantadev, Goveshwar or Gomanteshwar situated at Brahmapuri near Old Goa is associated with Madhav Mantri, the famous General and Governor of Vijayanagar Empire in the 14th century AD.
Brahmapuri was established in the 14th century and probably became a great seat of learning and riligious power under the patronage of Vijayanagar kings.
It is believed that Madhav Mantri restored the temple and reinstalled the idol of Shri Gomanteshwar and constructed a ritual bathing tank at Brahmapuri. The remnants of the tank still exist is and called Madhav Tirtha.

photo by Mohan Pai

Brahmapuri is located near Ela farm at Old Goa and is linked to the town by a kuchcha road. Mahadev was worshipped during the days of Kadamba kingdom in Goa. The Portuguese damaged the temple and built the Church of Santissimo Trinidade (the most Holy Trinity) in the 16th century. The shrine, rebuilt after the Inquisition, was ruined again by the Portuguese in 1779 by the Viceroy Dom Frederico Guilherme de Souza. Originally built in the 14th century, the temple was once again rebuilt in 1947 AD.

photo by Mohan Pai

Mahashivratri is celebrated with much religious fervour. This is a protected heritage site, where restoration work is going on.

The Flight of Gods 33. Mahalakshmi Temple, Panaji

2009-06-03T07:34:00.000-07:00

The Flight of Gods

by Mohan Pai

Sri Mahalakshmi Temple

Panaji

The Temple Entance

This Temple is located in the city of Panaji, off Dada Vaidhya road at the Altinho foothill. It was the first Hindu temple allowed to be built by the Portuguese in Goa after 300 years after bitter opposition. It was approved by the Portuguese authorities in 1818 after a long delay and built subsequently on contrubutions made by the devotees. It was most recently renovated in 1983. The deity of the temple originally came from the village of Taleigao and was moved to Bicholim in the 16th century to escape Portuguese destruction. For a short while during the approval process for building the temple the deity remained at the house of Mhamai Kamat, near the Idalcao’s palace.

Sabha Mantap - photo by Mohan Pai

The deity is Goddess Mahalakshmi (the Hindu Goddess of Wealth), made of black stone, with four hands and is placed in a silver canopy. This is the peaceful or Satvik form of Devi. According to the Shakti cult (worship of power), Mahalakshmi is the original Goddess who takes forms according to three aspects or gunas viz. Brahma (peaceful, calm form or satva), Vishnu (creative action or rajas) and Shiva (destruction or tamas). The deity originally from Mayem in Bicholim taluka was transferred to the present site.

A brief History of the Temple

This 182 year old temple has a fascinating history. In the 16th century the Havig Brahmins from Karwar-Kumtha areas who lived on alms and charity of others worshipped the Mahalaxmi deity and wherever they went in search of alms they carried this deity along. In the 16th century, they moved to Goa along with this diety and reached Taleigo village of which Panjim was then a mere ward, along the river Gomati (Mandovi). The Havig Brahmins whose whole day was spent begging for alms had sought shelter in the precincts of the Vetal temple of Taleigao. But when they learnt of the conversion policy of the Portuguese, fearing desecration of their revered Mahalakshmi idol made of marble, they moved away from Taleigao and as they were moving on they found a horse stable which actually belonged to the Portuguese government.
A gentleman called Raghavendra Kamat Mhamai who worked for the Portuguese military found that this place selected by the Havig Brahmins to hide their deity was unsafe and hence moved it to his palatial house opposite the Adilshahi palace (Secretariat) in the heart of Panjim city. Still fearing for the safety and security of the deity, he moved it to Mayem village of the Bicholim Taluka where it remained till 1817.
Sometime later in 1817, Narayan Kamat Mhamai of Panaji dreamt of the deity and the next day itself he along with others went to Mayem and brought the diety to Panjim and hid it at a place where stands the People's High School today. That corner at the People's High School is still venerated where the deity was kept hidden.
He later moved it to his house and started worshipping it there. He expressed his desire to a friend Mr. Sinari of building a temple to consecrate this diety. They seeked the permission of the liberal Portuguese governor Conde De Rio Pardo, which was granted to them on 2nd July 1818.
On 10 July 1818, the deity was consecrated there and the foundation stone of the Mahalakshmi temple was laid. Refusing to be cowed down by the heavy monsoon downpours of Goa, the pious devotees led by the late Shri Narayan Kumar Mhamai, Mr. Sinari and others consecrated the Mahalakshmimi deity in the backyard of Panjim city on 10 July 1818.

By 1819, the temple was completed. The original deity today lies in a small box in the rear wall of the temple which faces the present day main idol of Goddess Mahalakshmi. The magnificent subhamandap of the temple has been added later and today the recently completed new building of the temple stands proudly as a superb addition to the landmarks of Panjim city.
The Havig Brahmins whose whole day was spent begging for alms had sought shelter in the precincts of the Vetal temple of Taleigao. But when they learnt of the conversion policy of the Portuguese, fearing desecration of their revered Mahalakshmi idol made of marble, they moved away from Taleigao and as they were moving on they found a horse stable which actually belonged to the Portuguese government.
A gentleman called Raghavendra Kamat Mhamai who worked for the Portuguese military found that this place selected by the Havig Brahmins to hide their deity was unsafe and hence moved it to his palatial house opposite the Adilshahi palace (Secretariat) in the heart of Panjim city. Still fearing for the safety and security of the deity, he moved it to Mayem village of the Bicholim Taluka where it remained till 1817.
Sometime later in 1817, Narayan Kamat Mhamai of Panaji dreamt of the deity and the next day itself he along with others went to Mayem and brought the diety to Panjim and hid it at a place where stands the People's High School today. That corner at the People's High School is still venerated where the deity was kept hidden.
He later moved it to his house and started worshipping it there. He expressed his desire to a friend Mr. Sinari of building a temple to consecrate this diety. They seeked the permission of the liberal Portuguese governor Conde De Rio Pardo, which was granted to them on 2nd July 1818.
On 10 July 1818, the deity was consecrated there and the foundation stone of the Mahalakshmi temple was laid. Refusing to be cowed down by the heavy monsoon downpours of Goa, the pious devotees led by the late Shri Narayan Kumar Mhamai, Mr. Sinari and others consecrated the Mahalakshmimi deity in the backyard of Panjim city on 10 July 1818.
By 1819, the temple was completed. The original deity today lies in a small box in the rear wall of the temple which faces the present day main idol of Goddess Mahalakshmi. The magnificent subhamandap of the temple has been added later and today the recently completed new building of the temple stands proudly as a superb addition to the landmarks of Panjim city.
Flower shops at the temple

The Flight of Gods 32. Shantadurga Temple, Dhargal

2009-05-21T04:18:00.000-07:00

The Flight of Gods

by Mohan Pai

Sri Shantadurga Temple

Dhargal

This temple is located at Dhargal, about 14 km from Mapusa in Pernem taluka. This temple is dedicated to Shree Shantadurga, an incarnation of Goddess Parvati, consort of Lord Shiva.
Photo by Mohan Pai

It is one of the few temples in Bardez that survived the Portuguese Inquisition and during that time the deity was moved from the house of Shree Kichkar of Taliwada, Mapusa to Sanquelim, which was then a part of the Maratha kingdom of Sawantwadi.

Photo by Mohan Pai

It was subsequently installed at Dhargal in Pernem in 1550 ,which was then also a principality of the Sawantwadi kingdom. The main festival or "Zatra" falls in December and draws huge crowds.

The Flight of Gods 31. Bhagawati Temple, Pernem & Parshem

2009-05-20T08:10:00.000-07:00

The Flight of Gods
by Mohan Pai

Sri Bhagawati Temple
Pernem

Photograph by Mohan Pai

This is an ancient temple located at Pernem about 28 Kms from Panaji, in Pernem taluka. It is dedicated to Goddess Bhagwati, an incarnation of Goddess Parvati, consort of Lord Shiva. The deity is very imposing and stands on a high pedestal. The main festival is Dusshera which attracts thousands of devotees from all over.

Photograph by Mohan Pai

The Temple, situated by the side of the main road, is said to be more than 500 years old. Two life size images of elephants in standing position, made of black stone on either side at the entrance welcome the visitors.

Photograph by Mohan Pai

The Goddess Bhagwati Asthbhuja in a standing position on a high pedestal, is very imposing. Dussehra is celebrated with gaiety from Ashwin Shuddha Pratipada to Poomima, when over 25 thousand devotees assemble at the temple.Photograph by Mohan Pai

The complex has five temples, main temple being of Shri Bhagawati, other temples are of Shri Sateri, Shri Dev Ravalnath, Shri Dev Bhivangi Panchakshari & Brahma (Shri Vishnu, Shri Ganapath, Shri Shankar). Main festivals are Dassehra and annual Zatra.

Shri Bhagawati Temple

Parshem

Photograph by Mohan Pai

This is another temple ro Shri Bhagavati situated at a distance of just 7 km. from Pemem.
The complex has five temples, main temple being of Shri Bhagavati, other temples are of Shri Sateri, Shri Dev Ravalnath, Shri Dev Bhivangi Panchakshari & Brahma (Shri Vishnu, Shri Ganapath, Shri Shankar).Devi Bhagavati temple has two Deepstambhas unique of its kind. Main festivals are Dassehra and annual Zatra.

Photograph by Mohan Pai

There is an ancient baniyan tree spread over hundreds of sq metres with a shrine at the base very close to the temple.

The Flight of Gods 30. Damodar Sal, Margao

2009-04-28T19:24:00.000-07:00

The Flight of Gods
by Mohan PaiDamodar Sal
Margao

photo by Mohan Pai

After the wholesale destruction of the Hindu temples in Mathagrama (Margao) there were no Hindu temples left in Margao.photo by Mohan Pai

Naik Shankahwalkar family of Margao consecrated a coconut brought from their gramadevata, Lord Damodar from Zambaulim, to be worshipped in the Sal of their ancestral house.

Damodar Sal became the centre of the religious life of the Hindu community in Margao until Hindu temples were built in the town at a later stage. However, Domodar Sal today is both sacred and a public place of worship.photo by Mohan Pai

An association of Hindu elders formed the Hindu Kaivari Sabha, later called the Mathagramasth Hindu Sabha held their regular meetings at the Damodar Sal and the old family house on Rua Abade Faria is still the base for social, cultural and religious activities.Old family house of Naik family that houses Damodar Sal - photo by Mohan Pai

Swami Vivekananda on a visit to Goa in 1898, (to acquaint himself with Christian teaching and seminary education) prior to his departure for Europe was a guest of Naik family at Damodar Sal.

The Flight of Gods 29. Vijayadurga Temple, Keri, Ponda

2009-04-28T18:16:00.000-07:00

The Flight of Gods

by Mohan Pai

Sri Vijayadurga Temple

Keri, Ponda

Sri Vijayadurga Samsthan was originally situated at Sankhavali along with Sri Shanthadurga and Sri Laxmi Narshima.

Sri Vijayadurgae is a family deity as a Pallavi of many Brahmins. Shri Vijayadurga was once settled with Shri Shankleshwari Shantadurga and Shri Lakshminarsimha in Sankhwal, but due to Portuguese destruction spree the temple had to be shifted to Kerim from Sankhwal.

The Mantap - photo by Mohan Pai

The Mahajans and kulavis belong to the same class as Shri Shankleshwari Shantadurga Devi of Gothana and Shri Lakshminarsimha. Shri Vijayadurga is considered a pallavi of those who have Kuladevta as Shri Shankleshwari Shantadurga, Anant Vitthal Purrush or Shri Lakshminarsimha.

The Temple Complex - photo by Mohan Pai

It was once said that when the war going between Vishnu and Shiva was stopped by Shri Shantadurga when she took Vishnu and Shiva by her left and right hand, and according to the Skandapurana it is said that how Lord Shiva, when defeated by his spouse Parvati in a game of dice, had left mount Kailash and gone to Gomanchala near Kushasthali for tapasya (penance). It is here that he heard the cries of the Brahmin, Loma Sharma, caught by a crocodile in the river Aghanashini.

Deepasthambha - photo by Mohan Pai

When Shiva saved Loma Sharma, he prayed to the Lord to remain in Kushasthali. Similarly, when Parvati arrived looking for Shiva, she was also requested to stay at the nearby village of Keloshi (Kadalivana Quelossim). This shrine of Shri Shantadurga Devi is Situated to the present day location, Kavlem and is often known as Kavlem Shantadurga.

Tirthastana, a natural water pond - photo by Mohan Pai

The deity of Shantadurga is shown as holding two serpents, one in each hand, representing Vishnu and Shiva. She is then said have gone to Shankleswari a village in Ponda Taluka (goa in which she went to Gothana (a small place in Shankleswari) to kill the demons that were harassing the Brahmins.

Panchayatan Shrines - photos by Mohan Pai

As a reward, she was given the name of Vijaya where she is now called Shri Vijayadurga. Shri Vijayadurga shrine was located in Shankleshwari along with Shri Shantadurga and Shri LakshmiNarsimha but was later shifted to a place called Kerim in Ponda Taluka during the Portuguese destruction spree.

Tulasi Vrindavan - photo by Mohan Pai

Annual jatra is held in the month of Magha up to Shivaratri and also on Navaratri.

MY BLOG LIBRARYFor some of my articles visit:
http://mohanpaiblogger.blogspot.com/
http://mohanpaisarticles.blogspot.com/
http://biodiversity-mohanpai.blogspot.com/
http://delhigreens.com/2008/03/10/whither-the-wilderness/
For some key chapters from my book "The Western Ghats", please log on to:http://westernghats-paimohan.blogspot.com/
For detailed blog (6 Chapters) on Mahadayi/Mandovi River Valley, please log on to:http://mohan-pai.blogspot.com/
For the book 'The Elderly' please log on to:http://oldagecare-paimohan.blogspot.com/
You can also access my blogs on Sulekha and Wordpress:For my book "The Flight of Gods - Hindu Temples & Shrines of Goa" please log on to:http://mohanpai.sulekha.com/blog/posts/pageno-1.htm http://flightofgods.sulekha.com/blog/posts.htm
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The Flight of Gods 28. Vitthala Temple, Sancolem

2009-04-28T07:21:00.000-07:00

The Flight of Gods

by Mohan Pai

Sri Vitthala Temple

Sancolem

The worship of Vitthala in Goa probably started during the latter part of the Goa Kadamba period. The stone inscription of 1284 AD from Vitthala temple at Pandharpur records the donation made by the Lad family of Goa. The ‘warkari’ tradition which was popular in Maharashtra was also practised in Goa.
Ranes of Sattari are the devotees of Vitthala.

The Mantap - photo by Mohan Pai

Reconstructed in 1942 A.D., the temple incorporated North Indian style of architecture. Though sanctum-sanctorium was left untouched and the main festivity at the temple was held during nine days preceding Chairtra Purnima.

The Temple Complex - photo by Mohan Pai

Major attractions of Sri Vitthala Temple are an exquisitely carved wooden chariot symbolizing the chariot of Arjuna of Mahabharata which is driven by the Lord Krishna in the temple complex.

Tulasi Vrindavan - photo by Mohan Pai

The Flight of Gods 27. Aravalem Caves

2009-04-27T05:50:00.001-07:00

The Flight of Gods

by Mohan Pai

Rock-cut Cave Temple

Aravalem

Aravalem Rock-cut caves - photo by Mohan Pai

The village of Aravalem is close to Sancolem in Bicholim taluk. The caves here were probably excavated in a laterite hillock by the Bhoja rulers in the sixth century AD.

Carved Lingas - photo by Mohan Pai

There are six cells resembling cubicles. Inside the caves are four carved lingas set into square rock-cut bases. These caves have long been thought to be of Buddhist origin, with the lingas installed after the decline of Buddhism - but this is not altogether certain and they may have been Brahminical caves from the start.
The local name for these caves is ‘Pandava Caves’ associated with the five Pandava brothers.
There is a small rivulet that flows in front of the caves. Aravalem waterfall and Sri Rudreshwar Temple is close by.
Aravalem waterfall - photo by Mohan Pai

The Flight of Gods 26. Parashuram Temple, Poinguinim

2009-04-27T05:06:00.000-07:00

The Flight of Gods

by Mohan PaiSri Parashuram Temple

Poinguinim

Sri Parashurama is the 6th incarnation of Lord Vishnu who is an axe-wielding(Parashu) warrior God. According toPuranic tradition he is credited with the creation of the West Coast (Parashurama Sristi).

Entrance to Garbhagriha - photo by Mohan Pai

Shrines to Sri Parashurama are quite rare and apart from the temple at Poinguinim village in Canacona taluk in Goa, the only other three known shrines are at Pethe Parashuram near Chiplunand Payyanur, and Thiruvallom in Kerala.Sri Parashuram Shrine - photo by Mohan Pai

The rise of Nath cult appeared to have coincided with the cult of Parashuram and both Poinguinim and Chiplun were set up as independent shrines to Para-shurama during 1300-1400 AD.
The temple at Poinguinim is a small temple located amidst forest grove in a serene surroundings. The Shikara isthe traditional pyramid shape. The mantapa has traditional carved wooden pillars. There is an an iconic representation of ‘Kshetrapala’ in the courtyard.

Kshetrapala - photo by Mohan Pai

The Legend of Parashurama
The legend of Parashurama is a popular story in the Hindu Mythology with different regional versions. According to one version, Parashurama, the axe-wielding avatar of Vishnu is the son of Sage Jamadagni and Renuka. Jamadagni is killed by despotic Kshatriyas because he refuses to part with “Kamadhenu”, his wish-fullfilling divine cow. In revenge, Parashurama traverses the earth twenty-one times and wipes out all the Kshatriyas.

Painting of Sri Parashuram in the Temple

Parashurama, struck by remorse tried to expiate his sins by performing yagnyas during which he gifted away all his lands to the Brahmins with no land left even to build a hermitage for himself. Varuna, God of the seas came to his aid and offered him to gain from the sea as much land he could span in one throw of his axe. Parashurama stood at Pethe Parashuram (near Chiplun, Maharashtra) and threw his axe as far as Kanyakumari. The sea retreated and the coastal tracts of Konkan, Kanara and Kerala were thus generated.
Parashurama populated his new lands with Brahmins as well as new plants such as the coconut, the banana and the jackfruit which now thrive throughout the region.

This legend is probably based on the lowering of sea level which resulted in the emergence of the coastal strip which is now referred to as Konkan and Malabar.

The Flight of Gods 25. Mahadev Temple, Tambdi Surla

2009-04-26T21:46:00.000-07:00

The Flight of Gods

by Mohan Pai

Sri Mahadev Temple

Tambdi Surla

This was a lost temple, rediscovered sometime around 1935. Its remote location, deep inside forest even some distance from any village had made it in accessible for centuries and its survival is largely due to its location. Even until recently, the temple was still relatively in accessible.

The Temple Complex - photo by Mohan Pai

The temple that survived the ravages, is situated about 12 kms from Molem in the Anmod Ghats (the Western Ghats), almost on Goa’s border with Karnataka amidst thick forests where a beautiful stream flows with lush greenery all around.

A beautiful stream near the temple - photo by Mohan Pai

The temple was built in the 13th centuryAD and was built by the Goa-Kadamba dynasty and is in Kadamba style. It is built of black basalt stone, not locally available and which was obviously transported from a considerable distance.Shrine to Sri Vishnu - Phto by Mohan Pai
This is a comparatively small temple and consists of Garbhagriha, Antarala and Nandi Mantapa. In the garbhagriha there is a small Lingam mounted on a pedestal.Shrine to Sri Ganesha - photo by Mohan Pai
There is a slab roof design over the main hall and behind this rises typical Dravidian-style Shikara in a pyramid over the sanctuary. The central ceiling is beautifully carved in an eight-petalled lotus pattern with rosettes.

Central Ceiling in 8 petal lotus pattern - photo by Mohan Pai

There are four niches on the rear wall of the mantapa. In one of the niches is a standing idol of Vishnu. In the second and third niches there are coiled Nagas and in the fourth there is a standing Ganesha. These niches have a fascinating framework with four main columns topped by a replica of the temple Shikara.

The temple is an archaeological monument and being preserved by the Archaeological Survey of India.

MY BLOG LIBRARYFor some of my articles visit:

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http://delhigreens.com/2008/03/10/whither-the-wilderness/

For some key chapters from my book "The Western Ghats", please log on to:http://westernghats-paimohan.blogspot.com/

For detailed blog (6 Chapters) on Mahadayi/Mandovi River Valley, please log on to:http://mohan-pai.blogspot.com/

For the book 'The Elderly' please log on to:http://oldagecare-paimohan.blogspot.com/

You can also access my blogs on Sulekha and Wordpress:For my book "The Flight of Gods - Hindu Temples & Shrines of Goa" please log on to:http://mohanpai.sulekha.com/blog/posts/pageno-1.htm http://flightofgods.sulekha.com/blog/posts.htm

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The Flight of Gods 24. Brahma Temple, Carambolim

2009-04-21T06:19:00.000-07:00

The Flight of Gods

By Mohan Pai

Shri Brahma Temple

Carambolim

Black basalt Brahma idol - photo by Mohan Pai

The temple is situated at a village called Brahma-Carambolim to distinguish it from CarambolimVillage near Old Goa, the original home of the deity. Brahma-Carambolim is located 7 km from Valpoi town in Sattari Taluk.

The stone sculpture of Brahma here is truly magnificent. Carved out of a single black basalt stone, it is one of the finest specimen of Kadamba art and is an ancient image still in worship. The sculpture has a beard on the central face. In his four hands he carries a ladle in his upper right hand, the book of Vedas in his upper left hand, Kamandalu in his lower left hand and chanting beads in his lower right hand which is in Varamudra posture.

Here again Brahma is a migrant deity, originally from the village with the same name - Carambolim that is located right next to Old Goa. The image was hurriedly carried away by its devotees. But where as most of the Gods saved in this way were installed nearby, just across the border, the Brahma image made a journey far to the east into the foothills of the Western Ghats.

There is no independent cult of Brahma, as according to Puranic version, Brahma was cursed by Shiva not to receive any worship and there are hardly any shrines to Brahma in India. Apart from Goa, there are two Brahma shrines in existence at Pushkar in Rajasthan and at Khajurao in Madhya Pradesh. In Goa, apart from Brahma-Carambolim where he is the main deity, he is also a Parivar Devata in Shri Bhagavati temple in Parse and Virnode temple in Pedne taluk and in Shri Shantadurga temple at Colomba in Sanguem taluk.

The Brahma worship in this region appears to have arrived during the period of early Chalukyas of Badami.The Shrine under renovation - photo by Mohan Pai
The temple at Brahma-Caramboli is a small plain building, hardly recognisable as a temple. The temple is under renovation and the sanctuary was in the midst of scaffolding when the author visited the temple in February, 2006. Regular pujas, however, are being conducted without interruption.

Vagheri Hills, Sahyadris - view from the Brahma Temple - photo Mohan Pai

The Flight of Gods 23. Chandrashwar-Bhutanath Temple, Paroda

2009-04-21T05:20:00.000-07:00

The Flight of Gods

by Mohan Pai

Shri Chandreshwar-Bhutanath Temple

Porvot, Paroda

Shri Chandreshwar - Bhutanath temple is one of the oldest temple in Goa, its antiquity going back to nearly one thousand six hundred years during the reign of Bhoja rulers (4th & 5th century AD). Bhojas have made reference to the temple in their copper-plate inscriptions. According to the tradition, the Bhoja ruler, Chandravarma whose capital was in Chandrapur was a devotee of Chandreshwar.

The Temple Complex - photo by Mohan Pai

The temple is magnificently situated on the Chandranath Hill simply called as ‘Porvot’with wooded slopes. A rough , rock stairway leads upwards to reach the summit.
The Mantap - photo by Mohan Pai

While the earlier temple was constructed during the Bhoja period it was in dilapidated condition by 1100 AD and the Goa Kadambas once again rebuilt the main temple. The present structure of the temple of Chandreshwar was constructed in 1877 and that of Bhutanath in 1917 AD. Tulasi Vrindavan - photo by Mohan Pai

However, the architectural parts such as the ceiling, the lintel and the pillars of granite clearly indicate that the temple was built during the Kadamba period.

Pillared Hall - photo Mohan Pai

Shri Chandreshwar is represented by Svayambhu Linga carved out of and part of the natural outcrop of rock, a mukhalinga with sculpted face. Water seeps from the Linga at the time of the full moon and the design of the temple allows the moon’s rays to fall on the sanctuary.

‘Amrut Manthan’ mural on top of the main entrance to Chandreshwar temple - photo by Mohan Pai

The small shrine of Bhutanath is located on the left hand side adjacent to the main temple. There is no image of Bhutanath and he is represented by a meter high irregular, unsculpted natural stone. Bhutanath is one of the 64 Bhairavas. According to Sahyadri Khanda of Skanda Purana, Bhutanath didn’t want to be left on Kailas when Shiva changed his abode from Kailas to Chandranath Hill. So he prayed and requested Shiva to allow him to stay with him on Chandranath Hill.
Though this is a Shaivite Shrine, like Gokulashtami at Saptakoteshwar temple, Ramanavami (Shri Rama’s birthday) is celebrated at Chandreshwar-Bhutanath temple as an annual feast.

A view of the Sahyadris from ‘Porvot” - photo by Mohan Pai

The Flight of Gods 22. Siddheshwar Temple, Borim

2009-04-20T21:02:00.000-07:00

The Flight of Gods

by Mohan PaiShri Siddheshwar Temple

Siddhanath Hill, Borim

The Mantap - photo by Mohan Pai

From Borim village in Ponda Taluk aroad leads to a nearby hill of Siddhanath. Near the summit there is a Shiva temple of Siddheshwar. This is a Nath Panthi shrine and although one can see no samadhi, it is believedthat the samadhi of Karan Siddha isbelow the ground level of the linga.

The Temple Shikara - photo by Mohan Pai

The temple of Siddheshwar is associated with the Nath Panth which was fairly widespread in Goa during the 12th & 13 centuries. The founder of Nath cult (Sampradaya) was Matsyendranath and his historicity is shrouded in mystery.

Tulasi Vrindavan - photo by Mohan Pai

His well-known pupil was Gorakhnath and he belonged to the early 11th century. Historical evidence availble indicates that the Nath Panth had spread to Goa by 1200 AD.

Thickly forested slopes photo by Mohan Pai

A few kilometers away from the temple there is a shrine associated with Nath Siddha Madhavanath. In this shrine there are ‘padukas’ (sandals) and a Trisul (trident). These objects are taken out in a palanquin in a procession during the annual fair (Jatra) on the day of Mahashivaratri.A view of the Sahyadris from the Siddhanath Hills -photo by Mohan Pai
This is a very picturesque hillock with a view of the Goa Sahyadris with thickly wooded slopes. Nearby close to the village of Shirshinre there is a beutifull waterfall.

A waterfall on the Siddhanath Hills near Shrshiren - photo by Mohan Pai

The Flight of Gods 21. Mallikarjun Temple, Gaondongrem

2009-04-20T19:17:00.000-07:00

The Flight of Gods

by Mohan Pai Shri Mallikarjun Temple

Gaondongrem

Shri Mallikarjun Temple, Gaondongrem is situated in Canacona Taluka in South Goa. This deity is mainly worshipped by Gavades, Kunbis, Velips and the Marathas.

The Linga is believed to be Swayabhu linga, uncovered by a member of the Kunbi community while clearing the forest and it is a phallic shaped uncut stone covered with a metallic mask.
The legend mentions that the demon Malla was fighting with one of the Pandava brothers, Arjuna. Shiva assumed the form of a hunter and killed Malla and saved Arjuna and hence the name ‘Mallikarjun’.

The Shikara - photo Mohan Pai

The festivals held at Gaondongrem are Shisharanni (cooking on the head-earth) and annual Zatra. During the festival of Shishranni, the performance and rituals include bathing of the gade, dress, smearing of sandal paste on the entire body. Heads are covered with wet cloth and layers of plantain trunk and piercing needles in the abdomen as well as left arm. Head-hearth is formed of three heads of Gade.

Deepasthamba - photo Mohan Pai

A unique collection of three replicas of stone of decapitated human heads could be seen here.
The ritual of hunting ia a compulsary ritual held every three years with group of traditional hunters gather at the shrine and proceed to the jungle. The head of the hunted animal is cut and worshipped at the shrine and all members share the flesh.
One of the wooden pillars in the mandapa is used as the oracle pillar in the temple.

Image of Paik outside the temple - photo Mohan Pai

Shree Mallikarjun is a popular, tribal deity in Goa. There are 14 shrines of Mallikarjun spread all over Goa. The striking similarity in these shrines is that all idols are in phallic shape and covered with metallic masks. The lingas are believed to be ‘Swaymbhu’ lingas. In some shrines the daily worship is performed by Brahmin priest only for a certain designated period and during the rest of the period, the Kunbi priests namely Velip and Zalmi perform the daily worship. The ritual of hunting is associated with some of the Mallikarjun shrines.

Tulasi Vrindavan - photo Mohan Pai

According to the records two ancient shrines of Mallikarjun existed in Bardez at Assgao and Pomburpa which were demolished by the portugese.

Centres of Mallikarjuna Worship:
Bicholim: Pale, Surla

Canacona: Avem, Gaondongrem, Kuskem, Shristhal

Ponda: Boma, Kundai, Dhavli

Quepem: Bali, Caorem, Molcormem

Sanguem: Bhati, Kumbari

The Flight of Gods 20. Shri Datta Mandir, Sancolem

2009-04-20T18:32:00.000-07:00

The Flight of Gods

by Mohan Pai

Shri Datta Mandir

Sancolem

Gateway to Datta Mandir

With the growing atmosphere of tolerance, or indifference by the Portugese authorities many Hindu shrines and temples appeared in the late 19th century over the length and breadth of the New Conquests.The Temple Complex - photo by Mohan Pai

Shri Datta Mandir at Sancolem, about 6 kms from Bicholim was one of the temples built during this period (1882). It follows the more conventional design and is built on fairly traditional lines but with a dome.

The Mantap - photo by Mohan Pai

The temple is situated near a river in wooded surroundings. There are two old Audumbar trees at the entrance to the courtyard.

photo by Mohan Pai

Datta Jayanti, the main annual festival of the temple is held in December and attracts devotees from all over Goa.

Shri Datta Guru’s animals in marble - photo by Mohan Pai

The Flight of Gods 19. Ramnath Temple, Ramnathi

2009-04-20T17:51:00.000-07:00

The Flight of Gods

by Mohan Pai

Shri Ramnath Temple

Ramnathi

The ancient shrine of Ramnath was originally located in Loutlim and was burnt down by the Portugese Captain Diogi Rodrigues of Rachol Fort in the year 1567.

The idol was smuggled out and consecrated at the present site at Ramnathi, Bandode very near to the Shantadurga Temple at Kavalem. According to the tradition, the linga of Ramnath was brought from Rameshwaram.

The Temple Complex - photo by Mohan Pai

The main temple building was completely renovated in 1905, resulting in its original proportions being distorted by a huge unsympathetic additional hall that overpowers all else.

The Mantap - photo by Mohan Pai

The Parivar devatas here are Laxminarayan, Kamakshi, Shantadurga, Vetal and Kalabhairav. The Kalabhairav image came from Raia, the next village to Loutlim where Ramnath originated.

Deepasthamba - photo by Mohan Pai

The Flight of Gods 18. Nagesh Temple, Nagueshi

2009-04-20T17:17:00.000-07:00

The Flight of Gods
by Mohan Pai

Shri Nagesh Temple

Nagueshi

This is one of the few temples where the deity is not a ‘migrant’ deity since it was originally located at its present site in Bandode and unaffected since it was outside the Portugese territory.
The temple is located at Nagueshi (Bandode) 4 km east of Ponda. This is an ancient temple and which probably belongs to the 7th century AD and was later renovated by Sahu Maharaj,

Grandson of Chattrapati Shivaji Maharaj. This is a ‘Swayambhu’ shrine of Lord Shiva and according to Nagavya Mahatme of Sahyadri Khanda in Skanda Purana Shiva is closely associated with Nagas. The Naga cult in Goa happens to be an ancient cult and according to Bhoja inscription, the Hindus had worshipped Nagas in this region in c. 400.

The Deepasthama at this temple has brightly coloured painted deities on the lower half. The temple has a large and beautiful water tank surrounded by palm trees which is centuries old.
There is a Vijayanagar inscription dated1413 AD on a stone slab in the temple about the donations and grants given to the temples of Shri Naguesh and ShriMahalakshmi of Bandode by one Main Shenoy. There is also a mention of Naganath in the Savoi Verem copper plate dated c. 1,300. There is a Shiva-Parvati and a Ganesha stone idol which are believed to be 7th & 8th century pieces.

Deepasthamba-detail

The Mantapa has a raised central portion with a carved and painted wooden panels depicting a number of deities in subdued colours. Below the ceiling are friezes of small carved wooden panels depicting scenes from Ramayana andMahabharata.
There are shrines to the affiliate deities - Lakshminarayana and Ganesh in the porch of the side entrance. In the court yard opposite the Ganesha’s porch are set four small shrines each with a linga.
Close by there the house built for the Raja of Sonda when he gave his territory into the hands of the Portugese and sought asylum here in 1764. The house has been now renovated and extended and is still occupied by the Raja’s descendants.

The Flight of Gods 17. Damodar Temple, Zambauli

2009-04-20T07:30:00.001-07:00

The Flight of Gods

by Mohan Pai

Shri Damodar Temple

Zambouli

Shri Damodar of Zambauli is a ‘migrant’ deity from Mathagrama (Margao). The original temple at Margao, which probably belonged to Kadamba period, was razed to the ground by Captain Diogo Rodrigues under the instructions of Dom Casper Leao Pereira, the first Archbishop of Goa and the Church of the Holy Spirit was deliberately built at that exact spot and consecrated in 1565 AD. It was again rebuilt in 1675 AD in baroque style.

Along with Shri Damodar, many other deities from Margao were shifted to Zambauli around 1567 AD where the villagers of Rivona welcomed the new deities and offered land and other facilities for their rehabilitation.

The Mantap - photo by Mohan Pai

Damodar is an epithet of Krishna and particularly associated with his childhood. Yashodha, his foster mother, tied his lower abdomen to a heavy mortar and the abdomen of Krishna was pressed and hence the epithet Damodar. The temple is situated at Zambauli about 22 kms From Margao on the banks of Kushavati river. The Temple - side view - photo by Mohan Pai

The Kushavati river is supposed to have great healing powers and many devotees take bath here to cure themselves of bodily ills. There is an ancient tree that spreads itself in front of the temple. A triple-arched gateway with its Naubat Khana leads to the Courtyard. The temple was renovated between 1892-1908 with copper roofing being added to the Shikara. The temple has a more conventional Shikara design for the towers instead of domes, somewhat North Indian in outline. Almost every part of the temple is new, having been renovated once again between 1951 and 1972.
The affiliate deities here are Shri Lakshminarayan, Mahakali, Chmundeshwari and Mahesh. Shigmo is a major and famous festival of Zambauli celebrated on a grand scale.

Tulasi Vrindavan - photo by Mohan Pai

THE LEGEND
The legend says that the temple of Damodar at Margao was erected as a memorial in honour of Malkaji Damodar. The story is one of jealousy and hired assassins. Malkaji Damodar, son of a local Desai, was returning from his wedding in Quelossim with his bride. Both the bride and the bridegroom were attacked and murdered by hired assasins employed by a frustrated suiter from a nearby village. A temple was built by the people of Margao in His honour on the spot where Malkaji was murdered.

Zambauli is part of the Rishi Vana or the present day Rivona which is an area of ancient Buddhist settlement. The Buddhist monk Punna, who brought Buddhism to Goa in the 3rd century BC, based himself in a place called Sunaparant, which is believed to be the present day Zambauli. Some ancient Buddhist caves are located about 3ks from the temple of Damodar at Rivona.

The Flight of Gods 16. Devaki-Krishna Temple, Marcel

2009-04-20T04:32:00.000-07:00

The Flight of Gods
by Mohan Pai
Devaki-Krishna Temple
Marcel

The temple is popularly known as ‘Pisso' Ravalnath and is located at Marcel. This is the only temple in India where Lord Krishna is worshipped with his mother Devaki as Devaki-Krishna.
The original temple of Devaki-Krishna was on the island of Chodan in the Mandovi river.
Pisso Ravalu

It was destroyed by the Christian missionaries and relocated first at Mayem between1530 and 1540 AD and then shifted to its present site at Marcel between 1540 and 1567. Marcel then was under the Bijapur rule but the Sardesais were Hindus who supported the cause.

The Mantap - photo by Mohan Pai

There was a small shrine to the deity earlier and the present temple was built in the year 1842. The black stone idol of Devaki in standing posture holds on her left side of abdomen, with her left arm, the image of child Krishna.Shano Ravalnath

The affiliate deities are Bhumika Devi, Ravalnath (Pisso Ravalu), Ravalnath (Shano Ravalnath), Malinath, Katyayani, Laxminarayan Chodaneshwar, Dhada, Shankar and Kulapurush.The Temple Complex - photo by Mohan Pai
There is a historical legend about Vasco da Gama who was appointed Viceroy in his old age of all Portugese colonies of the Far-east as a gesture of honour.One day he visited Chodan island, and when he saw the idol of Devaki Krishna through the main doorway, he immediately saluted the image and went on his knees, thinking that it was the image of Mary and infant Jesus. But his companions pointed out his mistake and Vasco da Gama was visibly annoyed.

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The Flight of Gods 15. Mahalakshmi Temple, Bandodem

2009-04-19T20:15:00.000-07:00

The Flight of Gods
by Mohan PaiShri Mahalakshmi Temple

Bandodem

Shri Mahalaxmi temple is situated at Bandode 4 kms east of Ponda town. This is an ancient temple. The Southern Silaharas and the Kadambas of Goa were the worshippers of the deity.

Silver filigree work - entrance to garbhagriha - photo by Mohan Pai
This is an ancient temple and a stone inscriptionof the year 1413 AD at the Nagueshi templementions the donations made to the temple ofShri Mahalaxmi by one Main Shenoy duringthe Vijayanagar period.

The Mantap - photo by Mohan Pai
There was another temple of Shri Mahalaxmiat Kolva (Salcete) but it was destroyed by the Portugese in the 16th century and the idol was shifted to the already existing temple at Bandode.The Temple - photo by Mohan Pai
Shri Mahalaxm is believed to be an incarnation of Adishakti and is worshipped by Gaud Sarswats who belong to the Shakti cult.

The special feature of the deity is that she wears Lingam, a symbol of Shiva on her head. The Sabha Mantap has a series of 24 carved and brightly painted wooden panels that show scenes from the Bhagwat Purana.

Deepasthamba - photo by Mohan Pai

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For some key chapters from my book "The Western Ghats", please log on to:http://westernghats-paimohan.blogspot.com/
For detailed blog (6 Chapters) on Mahadayi/Mandovi River Valley, please log on to:http://mohan-pai.blogspot.com/
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The Flight of Gods 14. Laxminarcinva Temple

2009-04-19T18:46:00.000-07:00

The Flight of Gods
by Mohan Pai

Shri Laxminarcinva Temple

Veling

Shri Laxminarcinva temple of Veling, originally of Shankhavali Village that bordered Kushasthali (Cortalim) in Salcete, is one of the temples which during the 16th century faced the fanatic fury ofthe Portugese proselytization. The idol of ShriLaxminarcinva was shifted to its present locationat Veling in Antruz (Ponda) which was then under the rulers of Sonde kingdom. Shri Laxminarcinva Murti brought from Sancoale
The temple was first housed in a modest hutment and then rebuilt in its present rich scenic surroundings in the later part of the 18th century.

In this temple, a stambh was installed in the sanctum sanctorium and over the years a suitable silver and gold Kavach with attributes of Shri Laxminarcimha was added. However, in 1974, the vigraha idol was installed in place of the Kavach.

The Mantap - photo by Mohan Pai

Over the centuries, due to weathering the temple had deteriorated and required renovation which was undertaken in the year 2000 AD. And the entire temple including the sabha mantap, roofing and the garbhagraha were restored to their original glory.

THE LEGENDS
Shankhavali and Kushsthali, the two flourishing and adjustant villages were at loggerheads on the question of their boundaries and were equally fed up with their age-old problem. A godly man from Punjab came as a chance visitor (according to another version it was a Gaud Saraswat Brahmin by the name ‘Naik’ from Karnataka). By his saintly nature he soon won the affection and confidence of the residents of both the villages. He placed the Shaligrama which he always carried with him for his daily oblations at the foot of the pipal tree of the temple of Shri Shantadurga for his sacramental routine. The two villages requested him to bring about a settlement of their dispute.
The Temple - Photo by Mohan Pai
The pious man said “ I shall move with my “Lotta” full of water and its beak would go on trickling till it gets empty and this line of trickling will decide your boundary”. The villagers accepted this solution. But after it was done, some of the Kushasthali villagers felt cheated and in revenge, they quietly took away his Shaligrama and threw it into the temple lake. When the saintly man discovered the loss he went on a fast and refused even water.

Intricately carved wooden pillars - photo by Mohan Pai

Fortunately, one of the elderly villager had a dream which indicated that the Shaligrama lay at the bottom of the temple lake and the object of worship was retrieved. The legend says that the deity was interpreted as Narcimva. After this incident, the deity rose in popular esteem and flourished into an important temple. The holy man took permanent abode in Shankhavali and married a local bride.
Tirthasthana - photo by Mohan Pai
The other legend with some historical background is about the fisher folk of Carnalla. With the Portugese threat imminent, the kulavis of the temple secretly removed the idol and were anxious to transport it across the Zuari river. When they reached the bank of the river the brave Carnalla fishermen came to their rescue and carried them across the river to a safe haven. This incident took place during the middle of the 16th century.

In recognition of their service, their descendants are treated as guest of honour for two days at the temple of Shri Laxminarcinva during the Kartik festival. The deity is taken in a boat in the temple lake, probably to perpetuate the memory of the first river crossing. This ritual is called ‘Sangod’.

Sangod - photo by Mohan Pai

The affiliate deities of the temple are Purusha, Paik and Bhandari. The main festivals celebrated are Sri Ramanavami and Navaratri and the annual Jatra is held in Magha Masa.

MY BLOG LIBRARY
For some of my articles visit:
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http://mohanpaisarticles.blogspot.com/
http://biodiversity-mohanpai.blogspot.com/
http://delhigreens.com/2008/03/10/whither-the-wilderness/
For some key chapters from my book "The Western Ghats", please log on to:http://westernghats-paimohan.blogspot.com/
For detailed blog (6 Chapters) on Mahadayi/Mandovi River Valley, please log on to:http://mohan-pai.blogspot.com/
For the book 'The Elderly' please log on to:http://oldagecare-paimohan.blogspot.com/
You can also access my blogs on Sulekha and Wordpress:
For my book "The Flight of Gods - Hindu Temples & Shrines of Goa" please log on to:http://mohanpai.sulekha.com/blog/posts/pageno-1.htm http://flightofgods.sulekha.com/blog/posts.htm http://flightofgods.blogspot.com/

The Flight of Gods 13. Mahalasa Narayani

2009-04-19T18:08:00.000-07:00

The Flight of Gods
by Mohan Pai

Shri Mahalasa Narayani Temple

Mardol

Shri Mahalasa Narayani temple is situated at Mardol about 1 km from Shri Manguesh temple. The temple was constructed in early 16th century. The deity was originally from Verna and was moved to Mardol during the Portugese onslaught on Hindu temples.
The Mantap - photo Mohan Pai
Shri Mahalasa is one of the important Shaktis worshipped in Goa and is a folk deity having her origin in the Karnataka region. From the architectural remnants lying at Verna, it is evident that the worship of the goddess goes back to the Kadamba period c. 1100 AD. Varunapur Mahatmya in the Sahyadri Khanda of the Skanda Purana refers to Goddess Mahalasa with her detailed description. She stands on a dead body and has the head of Chandrasur demon in her left hand.

Narayani suffix is an epithet which has been mentioned in Devibhagavat of Markandeyapurana. According to another source Mahalasa Narayani is an incarnation of Lord Vishnu portrayed in female form as Mohini.

The Temple - photo Mohan Pai

At the entrance of the temple there is an artistic seven storied lamp tower that stands 12.5 metres high with a figure of Garuda at the top. Made entirely of brass it is probably the largest lamp of its kind in India. The inner hall of the temple has carvings of the 10 incarnations of Lord Vishnu that have been resplendently painted.

Brass Lamp Tower - photo Mohan Pai

Shri Mahalasa is the family deity of Gaud Saraswats and Karhade Brahmins. Goddess Mahalasa was a much feared deity and justice was dispensed by taking an oath underthe “Justice Bell” which was recognised even by the Portugese courts.
The annual Zatra of the temple is held in the month of February and the festival of Navaratri is celebrated on a grand scale.

Deepasthamba - photo Mohan Pai

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http://delhigreens.com/2008/03/10/whither-the-wilderness/

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For detailed blog (6 Chapters) on Mahadayi/Mandovi River Valley, please log on to:http://mohan-pai.blogspot.com/

For the book 'The Elderly' please log on to:http://oldagecare-paimohan.blogspot.com/

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The Flight of Gods 12. Shri Mangesh Temple, Mangueshi

2009-04-19T17:24:00.000-07:00

The Flight of Gods

by Mohan Pai

SHREE MANGESH TEMPLE

MANGUESHI

Shree Manguesh temple was originally located in Kushasthali (Cortalam) and was a popular centre of pilgrimage till the Portugese destroyed it and on the original site of the temple now stands a church.
In 1560 AD anticipating the onslaught of thePortugese, the devotees moved Shri Manguesh Shivalinga to a safer place in the Hindu territory of Sonde kingdom across the Zuari river. The Shivalinga was kept in a scenic surroundingson a hillock covered by forest, probably in a small hutment at a place now known as Mangueshi.

Shri Mangesh Temple - photo by Mohan Pai
In the year 1739 AD, the Peshwas donated the village of Mangueshi to the temple. Mangueshi is still a small hamlet about 1,000 families. Subsequently, a proper temple was built around 1744 AD which was supported by wooden pillars which have been preserved even today. A new temple was built in 1890 AD which was again renovated in the year 1973.

PURANIC LEGEND
According to Manguesh Mahatmya which forms a part of the SkandaPurana, Devasharma, one of the three later Gauda Saraswat emigrants, found the Linga near the river Agashi at Kushsthali. The discovery is attributed to a servant who appears to have seen Dev Sharma’s cow pouring milk from her udder everyday at the same spot and this happened to be a Linga.
The word Manguesh is derived from another episode according to which Ishwara and Parvati were playing a game and the former lost the game and left Kailasa in a huff and wandered from place to place until he reached Gomant. Parvati went in search of him till she reached Gomant. Ishwara then assumed the form of tiger to frighten Parvati. On seeing the tiger she cried out “Trahi Mam Girish” (Protect me oh lord of the mountain). Thus the word Manguesh is derived fromMangirish. The same story is also repeated in Konkanakhyana.
Within the temple complex there are shrines to Dev Sharma, Moolkeshwar who was the caretaker of the cow belonging toDev Sharma and Shiv Sharma who identified the Shivalinga.
The other ‘Parivar’ devata shrines are that of Virabhadra, Kalbhairav, Lakshminarayana and Santeri.
The annual festivals include the birthday of Sri Ram, AkshayaTritiya, Sri Anant Vritotsava, Navaratri (Dussera), Diwali, Mahashivaratri and Magha festival.

Deepasthambha - photo by Mohan Pai

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For some key chapters from my book "The Western Ghats", please log on to:http://westernghats-paimohan.blogspot.com/
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The Flight of Gods 11. Shantadurga Temple, Kavalem

2009-04-18T04:32:00.000-07:00

The Flight of Gods
by Mohan PaiShri Shantadrga Temple
Kavalem

Shri Shantadurga of Kavalem is a ‘migrant’ deity from Keloshi shifted here duringthe exodus of 1560s. Unlike the valley temples in this area, the temple of Shri Shantadurga stands on a slope of the hillside with a wide flight ofsteps leading up to the high gateway with the water tank on the left. The gleaming white dome is emphasised by the contrast with the terracota colours of the main structure.

The octagonal tower over the inner shrine has a higher drum with two stories, with its dome topped by an elegant lantern with a small dome and then a finial with spheres representing water pots.

In the first half of the 18th century, Naro Ram Mantri, himself a devotee of Shri Shantadurga and a Minister of Shahu Maharaj of Satara, funded the building of the temple and persuaded vassal King of Sonda to contribute the lands of the village of Kavalem to the temple estate. This temple has had frequent additions over the years.Deepasthamba - photo by Mohan Pai
The name of the goddess ‘Shantadurga’ is in itself a contradiction of terms. Shanta meaning peace and Durga being the very embodiment of violence. The legend says that there was a fierce quarrel between Shiva and Vishnu, which turned into a full-scale war so violent that the very existence of the Universe was threatened.

Mantap - photo by Mohan Pai

Brahma approached Durga to intervene. This she did, restoring peace and harmony amongst the Gods. From this time, she is also called Shantadurga, indicating peaceful aspects of Durga. The main shrine contains an image of the goddess Shantadurga flanked on one side by Lord Vishnu and on the other by Lord Shiva.

The main affiliate deity is Shri Lakshminarayana,whose shrine is an extension to the right of themandapa. There is also a small shrine to goddess Bhagavati under a aravali tree on its platform.Shri Bhagavati Shrine
Barring only two shrines outside Goa (in Karnataka), it is only in Goa that Goddess Durga is worshipped as Shantadurga. There is an interesting history about this new home of the goddess at Kavalem. The land chosen for the temple belonged to the Mahars, the untouchable community, and they were asked to give up the site for a temple where they would not be welcome. But they finally did agree and in recognition of their deed, a special day is reserved for members of Mahar community to worship during the annual celebrations of the temple when they are allowed inside the temple.
Tirthasthana - photo by Mohan Pai
Goddess Shantadurga is also called Santeri and is perhaps the most popular goddess of Goa. Apart from being an affiliate deity in many temples she has shrines all over Goa.The popularity could be attributed to her being associated with the cult of Santeri or Bhumica - the mother goddess or Earth mother which is worshipped in the form of an anthill.
The second chapter of Nagavya Mahatmyain Sahyadri Khanda of Skanda Puran is titled ‘Shantadurga Pradurbhavah’. One of the verses in this section mentions the disappearance of the goddess into an anthill.

Sacred Anthill

Santeri’s origins according to legend goes back to pre-Dravidian times; she was the Earth Goddess and her shrine was the anthill. There exist around 86 shrines in Goa in the form of the anthill and most of them are in open spaces, mostly in the vicinity of fields and forests. It is also believed that a serpent (Nag) always resides in the anthill. In several shrines of Santeri in Goa, a figure of serpent is displayed near the anthill. A metallic mask is also sometimes placed on the anthill to represent the goddess.
She is an ancient folk deity worshipped by the tribals (Gavadas) of Goa and with the advent of tantrism in South India many folk deities were absorbed into the Brahminical fold. In due course of time these Shaktis were associated with Shiva. Hence Santeri is associated with Ravalnath, a Shaivite deity of Goa and South Konkan.

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The Flight of Gods 10. Shri Saptakoteshwar Temple, Narvem

2009-04-17T20:08:00.000-07:00

The Flight of Gods
by Mohan Pai

Shri Saptakoteshwar Temple Narvem

The idol - photo by Mohan Pai

This is one of the greatest Shaivite shrines of Goa which has a chequered and turbulent history of more than one thousand years. Saptakoteshwar was the family deity of the Kadambas of Goa. and they honoured it by featuring the legend and the Shikara on their gold coins. The gold coins of Jayakeshi I (1050-1080AD) and Jayakeshi II (1104-1147 AD) carry the inscription.
The temple was destroyed several times by the marauding Muslims and later by the Portugese. The Lingam itself is one of the most sacred relic which has been equated with that of the Kedarnath in the Puranas and its presence endowed on Goa the designation of Konkan Kashi. This sacred relief, however, had to be buried inthe paddy fields to avoid desecration and had to face the ignominy of being turned into the step of a well so that people drawing water could commit the sacrilege of stepping on it.

This same mukhalingam, however, had the privilege of being venerated by two very illustrious personalities in the Indian history. Madhav Mantri, the famous general of the Vijaynagar Empire and the great Maratha hero, Shivaji Maharaj. Both of them, rebuilt, the Saptakoteshwar Shrine after its destruction.
Adil Shah’s Gate located in the front yard of Cajetan’s Church at Old Goa where his palace once stood is a transplant from a brahminical temple of the Kadamba period. Adil Shah’s palace was built at the site of (and with building materials from) the Saptakoteshwar temple built by Shivachitta Permadideva (1147-1172 AD) and his wife Kamaladevi in 1155 AD when Govapuri was the capital of the Kadambas. The temple had become a major centre of religious worship and prilgrimage.
Adil Shah's Gate, Old Goa - photo Mohan Pai
The temple was destroyed during the attacks by the Bahamanis between 1355 and 1366 AD which also ended the Kadamba rule in Goa. The main idol was buried in a nearby rice field for fear of desecretion in 1356.
Andre Corsali in a letter to Duke Giulianode Medicia dated 6th January,1515 refers to an ancient temple, “which was built with wonderful skill with ancient figures of a certain black stone worked with great perfection, of which some are standing, ruined and spoilt. Should I have in hand any (figure) thus ruined, I shall send it to Your Highness that your Highness may see how in ancient times sculpture was appreciated elsewhere” - This referred to none other than the Saptakoteshwar temple.
The next site was in the island of Divar across the river Gomati (Mandovi) where a new temple wasbuilt in local stone but this was also destroyed by the Bahamanis.
In 1378 AD Goa became a part of theVijayanagar Empire when MadhavMantri, the Vijayanagar General marched into Goa at the head of a large army and ousted the Muslim ruler.
A Kashmiri Saraswat Brahmin, a Vedic scholar, an ardent Shaivite and a patron of learning, Madhav Mantri who was the Governor of the region for 12 years restored the buried idol and rebuilt the Saptakoteshwar temple at Narve-Divar in 1391.

Deepasthambha - photo by Mohan Pai

The temple was once again razed to the ground by Muhammad Gawan in1471 during his plundering of Goa and then rebuilt by the local community until its final and complete destruction between 1540 and 1558. This time it was the Portugese - the infamous Miguel Vaz who took upon himself to destroy the famous shrine.
Narayan Surya Rao in his dream saw the Linga from the Saptakoteshwar temple being desecrated. The dream became a nightmare when he saw that the Portugese authorities had placed the linga at the foot of a well so that people drawing water would step on it. Another version suggests thatit was used as a makeshift pulley over which to draw water. The rope marks are still said to be visible. Narayan Surya Rao, who was a Sardesai, gathered a small group of men and crept towards the site of the well to save the sacred Linga.
They carried the Linga outside the Portugese territory. The Portugese in hot pursuit killed Narayan Rao’s brother. After two years the Linga was transferred to its present home called Narvem and placed in a sanctuary dug out in a rock and Narayan Rao built a small shrine there in 1549.
When Shivaji Maharaj camped in Bicholim, he provided funds and asked the temple to be rebuilt in the year 1668 at its present site. Chatrapati Shivaji Maharaj doing puja of Shri Saptakoteshwar (Painting at the temple) - Photo by Mohan Pai
PURANIC LEGEND
References to Saptakoteshwar are found in Sahyadri Khanda of Skanda Purana and also in Saura Purana. According tothe legend the Sapta Rishis (The Seven Sages) performed penance for seven crore (Saptakoti) years.
Due to the severe penance by the Sapta Rishis, Shiva was pleased and appeared before them and offered them a boon. The sages requested the Lord to make the island of Dipavati (Diwadi) his permanent abode. The Lingam is considered as important as that of Kedarnath and Goa is considered as Konkan-Kashi.

Mantap area - Photo by Mohan Pai
Though Saptakoteshwar is a Shaivite shrine, the Linga of Saptakoteshwar is considered not only the abode of Shiva but also of Vishnu, Brahma andBhairava. Both Hari and Hara are present in the Linga. Krishna Janmashtami is celebrated on a grand scale in this temple. Taking bath on this occasion in the river near the shrine is considered meritorius. The belief is that the river becomes Pancha Ganga on the Gokulashtami day. Even in the 16th century large crowd of devotees estimated to be over thirty thousand would assemble and bathe in the sacred waters.
Gauravas were probably associated with Saptakoteshwar temple during the Kadamba and Vijayanagara period. However, Saptakoteshwar also happens to be the family deity of Goud Sarsawats and Karhade Brahmins.

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Flight of Gods 9. Shri Ganapati Temple, Khandolem

2009-04-17T18:33:00.000-07:00

The Flight of Gods

by Mohan Pai

Shri Ganapati Temple

Khandolem

Shri Ganapati of Khandolem is an ancient deity and like Shri Saptakoteshwara, had a turbulent and chequered history. The deity was worshipped during the Kadamba period and the temple was situated at Ela during the 13th century. The Muslim raid of the early 14th century saw its destruction and the idol was hidden. With the return of Hindu rule under Vijayanagar in 1378, the idol was installed in a new temple on a hilltop at Navelim on the island of Divar.

Shri Ganapati Temple - night view - Photo by Mohan Pai

But, a century later, the Muslims in the shape of Mahmud Gawan of the Bahamani kingdom, once again attacked Goa and Shri Ganapati temple at Navelim was certainly desecrated. The Portugese built a new church of Our Lady of Divar, at the site of the destroyed temple. This was one of the first churches to be built around1515 after the Portugese conquest of Goa.

Puja in progress - Photo by Mohan Pai

The deity went into hiding again and the idol was shifted to Khandepar and then to Narvem in Bicholim. This was long before the real wave of Portugese destruction began with the first law of 1541. Shri Ganapati was one of the fore-runners of the refugee deities and in fact it was to him, already established in Bicholim across the river, that the People of the island of Divar decided to appeal for guidance when in 1560, they were under tremendous pressure to convertto Christianity. The boatload of young men sent to Shri Ganapati for guidance were captured and imprisoned. As a result, parents and fellow villagers capitulated and agreed to become Christians, leading to one of the first mass baptism in Goa.
Around this time, the idol of Shri Ganapatiwas again shifted to Khandole in Ponda taluk which was in the Sonda king’s territory.

Palkhi at the temple - Photo by Mohan Pai

A new idol of black stone of Shri Ganapati was installed on January 31,1969 and the old idol has been preserved in the Garbhagraha itself. Puja in progress - Photo by Mohan Pai

The affiliate deities here are: Shri Shantadurga, Shri Gramapurush, Shri Purvachari, Shri Ravalnath, Shri Mahalaxmi, Shri Laxminarayan and Shri Suryanarayan. The main festivals celebrated at the temple are: Ramanavami, Anantvrata, Dussera and Tulasivivah.

Shantadurga Shrine - Photo by Mohan Pai

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The Flight of Gods 8. Shri Kamakshi Temple, Shiroda, Goa

2009-04-17T06:25:00.000-07:00

The Flight of Gods

by Mohan Pai

Shri Kamakshi Temple

Shiroda Away from the main concentration of temples, to the south of Ponda taluk in Shiroda is located the temple of Shri Kamakshi. She is a ‘migrant’ deity from Raia. Before the take-over of Salcete by the Jesuits, the temple at Raia was held in high esteem in the area. The idol was moved to Shiroda sometime between 1564 and 1568 AD.
At the time of the destruction of the temple in Raia by the Captain of Rachol, Diogo Rodrigues, it was a potter of the village who smuggled the idol of the deity across the river to safety. An event still acknowledged at Shiroda by a potter from Raia having the hereditary right to light the first lamp at the Kamakshi festival in Shiroda.

The potters of Raia also have the right to supply the clay lamps for the festival. The Linga of Shri Rayeshwar, the principal affiliate deity and the image of Shri Lakshminarayana also came from other temples in Raia.

Sahyadri Khand furnishes the description of the goddess Kamakshi of Goa. According to Kamakshi Mahatmya, the demon Mahishasura swallowed a Brahmin boy named Gunakar,the son of Agnimukha, while he was sent to collect the grass for the ritual puja. Though Agnimukha approached Hara and Hari, they advised him to approach Shri Kamakshi. Shri Kamakshi came to his aid and after a fierce battle killed Mahishasura. On Agnimukh’s plea the Goddeess took permanent abode in Raia.
There is another legend according to which a devotee of Ramnath from Lotulim went on a pilgrimage to Assam. He had a vision and found the idol of Kamakshi in a river there which he brought with him to Goa.

He had wrapped the idol in a piece of cloth and according to the belief the idol was supposed to be rested on the ground only for final installation. On his return he first goes to his daughter’s house in Raia. He hangs the cloth bundle with the idol on a peg on the wall and goes for his bath with strict instructions to his daughter not to touch the parcel. The daughter could not contain her curiosity and brings down the heavy parcel and keeps it on the ground and opens it only to find the idol. The father returns after his bath and finds the idol on the ground and unable to shift it, in panic he rushes to the village elders of Raia and they decide to consecrate the deity at the same spot in Raia.

The Mantap - Photo by Mohan Pai

The image of Kamakshi which is actually worshipped at Shiroda is that of Mahishasuramardini. Hence, it is Mahushasuramardini who is worshipped as Kamakshi at Shiroda and is called Kamakshi because of her amorous eyes. Some scholars trace the origin of Kamakshi of Goa to Kamarupa. Sahyadri Khanda states that she came to Raia from Kavur located in Coimbatore district.

Tirthasthan - Photograph by Mohan Pai

Jayakeshi I of the Goa Kadambas came into close contact with theTamil country and this probably resulted in his bringing the worshipof Kamakshi to Goa.

Shri Rayeshwar Shrine - Mantap - Photograph by Mohan Pai

The temple is situated in a picturesque locale amidst the hills. The temple has no domes but has a very unusual and distinctive main tower with a tiled roof and the concave profile of a Buddhist Pagoda, projecting beyond a two storied octagonal tower. Low, decorative wrought-iron balconies run all around the tower on each floor and elephants kneel at the corners of the square on which the tower rests, while hooded Nagas rear from the projecting corners of the pagoda roof. Above all this soars a golden finial.

Vetal is Parivar or Panchayatan Devata at Shri Kamakshi Temple. There is a small shrine at the entrance of the mantap.
Shri Rayeshwar -Photo by Mohan Pai

There is a separate small shrine to the main affiliate deities - Shri Rayeshwar, Shri Lakshminarayana and Shri Shantadurga. Shri Vetal and Shri Kalbhairav, the other two affiliate deities are in the main shrine of Kamakshi at the entrance of the mantapa. The main festivals celebrated here are the Dussera, Gokulashtami, Mahashivaratri, the temple Zatra and Shigmo.

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The Flight of Gods 7. Temple Architecture

2009-04-15T04:38:00.000-07:00

The Flight of Gods
by Mohan Pai
Few ancient Hindu temples have survived in Goa and these are confined to the more remote areas of the New Conquests. The edict of 1540 AD gave a carte blanch to the Portugese to destroy all Hindu temples and shrines ‘not leaving a single one on any of the islands’ (the Ilhas). With the aquistion of Bardez and Salcete in 1543, these areas were also subjected to complete elimination of Hindu temples, virtually all traces were swept away, never to be replaced.
Shri Saptakoteshwar Temple, Narvem - Photo by Mohan Pai
Hindus were forbidden to cross the border to worship attemples and shrines outside the Portugese territory across the river and the Portugese were not averse themselves to organising regular forays to continue the destruction beyond their own conquests.
There are almost fifty temples in the New Conquests in which the principal deity is a ‘migrant’ deity from the Ilhas, Bardez or Salcete, the deities having been smuggled to safety out of the Old Conquests in the second half of the 16th century because of the destruction of their temples by the Portugese.
In fact most of the deities were transported just across the Cumbarjua waterway and the Zuary river to Antruz (Ponda) in the territory of the Sonda king, but on the eastern border of the area under Portugese control.
However, the fact that their devotees still wished to worship them and were prepared to risk the border crossing and in order to do so meant that they had to be accessible, resulting in a concentration of the temples on the very doorstep of the Portugese territory.
Kamakshi Temple, Shiroda - 19th Century engraving
The present day Kamakshi Samsthan at Shiroda - Photo by Mohan Pai
With the insecurity resulting from the danger of continuing forays across the border by the Portugese, these ‘migrant’ deities were originally kept hidden in hutments and modest dwellings, discreetly concealed in the wooded valleys. Sri Ganapati Temple at Khandolem - Photo by Mohan Pai
In these precarious locations, it was not for some time, until people felt more secure, that these deities were properly housed. It was only in the second half of the 17th century that the northern shore of river Mandovi, Bicholim came firmly under Maratha control in the person of Chhatrapati Shivaji Maharaj, who himself funded the new Saptakoteshwar temple at Narve. Later Naro Ram Mantri, minister of Shahu Maharaj of Satara funded the building of Shri Shantadurga temple at Kavalem and the village of Mangueshi was donated to the Mangueshi temple by the Peshwas in 1739
Shri Manguesh temple, Mangueshi - Photo by Mohan Pai
The major temple complexes built during this period have fairly large spacious sites. Most of the temples conformed in plan to the conventional temple design. This layout consisted of an entrance hall or a porchway leading to a pillard hall, the mandapa and a smaller inner sanctum, the garbhagriha. Above the inner sanctum is a tower, the Shikara. There are usually two or more smaller shrines housing the “Parvara Devatas” around the entrance to the mandapa or to the garbhagriha. There is surrounding free area or a passage around the garbhagriha for “Pradakshina” - the ritualistic left sided circamambulation.
Sri Shantadurga temple, Kavalem - Photo by Mohan Pai

Tulasi Brindavan & Tirthasthana

The Mandapa opens to the outer porchway or “Prakara- a long open pillard hall raised in front of the temple not enclosed in walls.

Tulasi Brindavan - Mangueshi

A ‘Tulasi’ Brindavan is an essential part of the complex which is usually located outside the prakara in the courtyard. The courtyard leads to a large water tank or a stream called “Tirthastan” for ritual ablution.

Tirthastan, Veling & Kavalem - Photos by Mohan Pai
The temples of Goa are unique in architectural terms because they break with tradition. The uniqueness is derived from the way in which Hindu architects and craftsmen utilised distinctive Muslim features together with Graeco-Roman pediments and Maratha motifs.
There were several fundamental variations from conventional temple design but two were particularly significant:
1. The replacement of the traditional pyramid form of the shikara, the tower over the sanctuary, by a dome resting on an octagonal base or a drum.
2. The introduction of a deepasthambha or dipmala, a lamp tower which could be transformed into pilllar of light on festive occasions. This feature exists hardly at all in any other part of India.

Sri Chandranath-Bhutanath Temple, Porvot - Photo by Mohan Pai

THE DOME OR SHIKARA

Shikara of Sri Shantadurga Temple, Kavalem - Photo by Mohan Pai
The Shikara - The dome is totally foreign to Hindu temple architecture and rarely occurs outside Goa. The traditional Shikara design being stepped pyramids on the Dravidian model rather than paraboloid.
First introduced into India by theMuslims at the end of the 12thcentury, the dome rising from an octagonal base became a well established and prominent featureof Muslim architecture in India.

Sri Mahalasa, Sri Kamakshi & Sri Lakshminaracinva Shikaras - Photos by Mohan Pai
These basic designs were taken up by goan temple architects and the dome became a feature on Goan temples as early as the Vijayanagar occupation of the 14th century but was in evidence by the 17th century, when rebuilding of temples in Bicholim and Antruz started in earnest. Saptakoteshwar at Narve, Chamundi at Piligao and Chandranath-Bhutanath at Paroda were perhaps the earliest examples. The ultimate development came in the 18th century with the Ponda temples such as Manguesh and Mahalakshmi temples adopting domes for their Shikara.

Sri Mahalakshmi Temple, Bandora - Photo by Mohan Pai
Dome profiles vary widely, some of the earlier ones having especially obvious Muslim influence but from then on subject to whim of Goan temple architect.
This period was also marked by the development of the design of towers on which the dome rested. In the 17th century, temple architect had quickly superimposed on the towers modified Christian Baroque decorative form pilasters, round arched niches and balustrades.

They were influenced by the European architecture from the churches of Velha Goa like the Se Cathedral (1562-1623) and the Church of St. Cajetan (1656-1661) which to some extent influenced the design of the temple towers. This type of temple tower would develop to the impressive double-storeyed tower of Shantadurga temple built in 1738.
The dome themselves were in turn crowned by a variety of finials, sometimes based on European lantern, sometimes on Indian symbols. These were either the ‘amalaka’, a flattened globe vertically groved all round to represent a fruit, or a pinnacle built of spheres to represent ‘Kalasha’, sometimes a combination of both. The lotus motif is frequently introduced round the base of the finial or around the base of the dome itself.In recent times some temples like the Lakshminaracinva temple at Veling have reverted to the traditional Indian dome with 8-faceted pyramid with beautiful copper roofing.

Shikara of Sri Manguesh Temple, Priol - Photo by Mohan Pai

St. Cajetan’s Dome, Old Goa - Pic by Mohan Pai

DEEPASTHAMBHA
Deepasthambha or Dipmal is a lamp tower that is transformed into a pillar of lights on festive occasions. This feature hardly exists in any other part of India.

Mahalasa Temple Deepasthamba - Photo by Mohan Pai

The tower is an octagonal turret, raised in front of the temple, from five to seven storeys high, each storey articulated with dwarf columns at the corners, inbetween which piercing the side of the turret, are niches for lamps. The Marathas had introduced the concept of a separate tower of light (Mahuli, Shiva temple), but the Goan architect adopted it but with their own unique designs later based on Christian Baroque elements.

Deepasthambas at Sri Mahalasa, Sri Shantadurga, Kavalem and Saptakoteshwar Temples - Photos by Mohan Pai

NAUBAT KHANA

Naubat Khana at Sri Kamakshi Temple, Shiroda - Pic by Mohan Pai

Naubat Khana or the Drum Tower usually situated above and as a part of the main gate to the courtyard is generally a two storeyed structure associated with Muslim rather than Hindu architecture. The upper chamber is for the musicians or the drum beaters as the name suggests.

Pieces of History

Adil Shah’s palace once stood on the groundswhere St. Cajetan’s Churh stands today in Old Goa. The Gate is all that remains of his magnificent palace today. This Gate is an obvious transplant from a Brahmanical temple of the Kadamba period.

Adil Shah’s Gate in the St. Cajetan Church grounds - Photo by Mohan Pai

It is believed that this Gate originally belonged to Saptakoteshwar Temple built by the Kadambas in the 12th century when Govapuri was their capital. Adil Shah’s palace had been built at the site of (and with building materials from) the Saptakoteshwar Temple that stood at this site.
Adil Shah’s Gate - detail - Photo by Mohan Pai

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The Flight of Gods - Hindu Temples & Shrines of Goa - 6.

2009-04-14T21:24:00.000-07:00

The Flight of Gods
by Mohan Pai

The Temple Scene

The Hindu temples of Goa have always been rich repositories of Goa’s ancient heritage and living centres of social and communal life. These temples are in a way unique in that they have serene, quite and peaceful atmosphere that is so essential in spiritual places.

The institutions which revolutionised the social life of Goa were the Comunidades (Gramasansthas) and the temples. Both these institutions were established by the first Aryan settlers in their respective villages. The temple committees known as “Mazanias” looked after the religious and educational needs of the community and the Comunidades looked after agriculture, horticulture, building of public roads, sanitation and general needs of the community. Every original resident of the village known as Gaunkar was a member of the Comunidade which built the temples and contributed towards the maintenance of the temples. However, the Mahajans of a temple were restricted to certain families belonging to particular gotras.

Palkhi at Ganesha Temple, Kandole - Photo by Mohan Pai

These community organisations lent its temples the most exalted place and spared no effort in enriching and embellishing the social and cultural life of the community which revolved around the temples.
The temples were the main centres of education, entertainment and religious and social gatherings. Therein sang and danced the Devadasis in the service of the deity. Dramas were staged and the traditional festivals of Shigmo, Kalo, Zagor, Novem, Zatra etc. all of them celebrated with profusion of colours, gaiety and full of excitement to the rhythm of drum beats and trumpets. Dramas were staged depicting scenes from Ramayana, Mahabharata and Puranas. It is believed that Yakshagana of South Canara originated in the temples of Goa.

Sri Shantadurga Temple, Kavale - Photo by Mohan Pai

In almost all villages the main temple was founded by the Gramsamstha, as its Gaunkars were also the Mahajans of the temple. A part of the land in the village was usually reserved for the maintenance of the temple. The possession of these lands lay with the temple committee and the recurring expenses of the temple were met from the income derived from these lands.
Temples functioned simultaneously, as places of worship and teaching institutions. It was in the temples that the members of the community learnt the three Rs and Shastras. They were places of prayer and meditation where collective decisions were taken, offences were judged, medicine was practised and all these activities were seemingly carried out with the blessings of the patron deity.

Goa, for the first time faced the fury of the marauding Mohammedan invaders beginning with the attack of Malik Kafur in 1314 AD. They looted and destroyed the Hindu temples en masse. Again in 1472 AD Mohamad Gowan of the Bahmani Sultanate attacked and plundered Goa. Govapuri was completely destroyed with its palaces and temples.

But the fanatic fury of the Portugese proselytization during the 16th century saw total destruction of the Hindu temples in the Old conquests of Ilhas (Tiswadi, Bardez and Salcete. All the Hindu temples were razed to the ground. Not a single temple was allowed to stand in the Portugese territories. According to the records, there were 116 temples in Ilhas, 176 in Bardez and 264 in Salcete.

The idols from the temples were hidden in the fields and the wells to avoid desecration and then spirited across the rivers that bordered Portugese territory and initially housed in modest structures like thatched huts.

Sri Narcimha Temple, Veling - Photo by Mohan Pai

All the villages in the “Old Conquest” had become Catholic. The Hindus remained only in the townships. There was an exodus of the Hindus. Thousands of Hindu families fled from the horrors to the areas outside the Portugese control to the northern Konkan and to the southern coast and settled down all along the coast in the towns of Karwar, Gokarna, Kumta, Honavar, Bhatkal, Kasargod, Calicut and Cochin.

At the end of the seventeenth century it is estimated that out of a total population of two hundred fifty thousand only twenty thousand were non-Christians. These included a large number of traders and visitors who were in Goa for temporary stays.Gaud Saraswat Brahmins and Shets who stayed behind earned profits through their collaboration with the Portugese and these profits were used by the Hindus for the reconstruction of the temples of the migrant deities outside the reach of the missionaries, in Ponda in particular. The Portugese discovered that the Christian Goa was encircled in an arc by the resurrected Hindu temples towards which they had indirectly contributed which rankled the missionaries to no end.

Palkhi at Veling - Photo by Mohan Pai

SANGOD

Sangod is an annual event celebrated at most of the emigre temples where the deities had been saved by shifting the idols to safer lacales across the river during the Portugese spree of the destruction of the Hindu temples. It is an event which commemorates the saving of the idols by smuggling them across the river transported on logs of wood fastened together or on canoes tied up together which is known as ‘Sangod’. The idols were generally smuggled in the dead of the night at a great personal risk by the devotees that included both the Mahajans as well as Kharvis and other people who came forward for the rescue. As a syncretic adoption, even Christians today celebrate the ‘Sangod’ with festivities in honour of St. John and St. Peter.

‘Sangod’ at Veling Temple - Photo by Mohan Pai

Today there are literally thousands of temples and roadside and other shrines in Goa which shows a high density for a small region like Goa. The temples fall in three main categories: 1. Kuladevata Temples 2. Temples of specific community 3. New temples without history. Kuladevata temples are generally associated with certain families and Gotras with the Mahajans belonging to these families and Gotras presiding over the affairs of the temples. Community temples are temples of specific community and the temple affairs managed by the community Mallikarjuna temple at Gaondongrem in Cancona for example is a temple of Velip and Gowda communities with their own priests.

Bhajan Mandali - Photo by Mohan Pai

The temple records give very little, for the oldest temples located in the New Conquests by flight at the end of the 16th century, were built in the 17th century or later to their present dimensions - and built in direct, if not very well understood copy of the Baroque Christian churches of the city of Old Goa (though the general style of Goa churches is that of Borromini’s Jesuit construction). This is understandable, as the Old Goa churches were the most imposing buildings, with Hindu workmen trained in that type of construction. When the emigre temples acquired funds enough for their rebuildings these same workmen built the new temples. What is surprising is that the replication seems to have been acceptable to the local Brahmins.

The ‘other side of the river’ - Ponda

It was the Rajas of Sonda to whom the Hindus of Goa had turned when their temples in Goa had been destroyed, and who much to the annoyance of the Portugese, had openly encouraged Hindus to rebuild their temples in their domain of Ponda and elsewhere.
There are no Hindu temples in the Old conquests older than the 19th century. Even in the New conquests, few of the structures themselves were built before the 17th century. So most of the ‘old’ temples we see in Goa date from the 17th century at the earliest and majority from the 18th century.

Kuladevatas of Saraswats

The Saraswats have for centuries persistently preserved their traditions, facilitated largely by the community temples and maths (monasteries) which have proved to be the medium for social interaction. Kuladevata is the deity of a family or Gotra. Every Saraswat’s family god is actually a mandal of five gods with the Kuladevata in the centre. The form of worship is known as ‘Panchayatan’ and is attributed to Shankaracharya.The five gods of Panchayatan are 1. Aditya 2. Ambika 3. Vishnu 4. Gananatha 5. Mahesvata. It prevails in Sringeri and Kavale Maths but is absent in Vaishnava Maths at Kashi and Gokarn-Parthagali maths.
The main Kuladevatas are as follows:
0 Mangesh 0 Mahalakshmi 0 Mhalasa 0 Shanta Durga 0 Sapta Koteshwara
0 Nagesh 0 Ramnath 0 Kamakshi 0 Lakshmi Naracinva
Most of them are emigre deities which were shifted from the Old Conquests to the territories of Sonda kingdom in Antruz Mahal during the Portugese spree of destruction of the Hindu temples.

Thousand of Hindu families fled Goa because of the severe religious persecution to other parts of India; many of them having settled in the Kanara district, Kerala and Maharashtra. Although the descendants of the founder members of these temples in Goa are spread far and wide, they still make up the general body of the Mahajans of their respective ‘Kuladevata’ temples.

PRASADA - Consultation of the Oracle
An ancient practice of ‘Prasada’ or consultation of the oracle, continues to be strictly observed in Goa to this date. Prasada, which here means the giving of a blessing or guidance by the deity to an appeal by a devotee. There is no religiously oriented Hindu in Goa, who can take any important decision without consulting the oracle. People of all walks of life go to ask the deity’s advice and guidance on many matters - marriage proposals, business matters, troubled relationships, job offers and so on. The ritual is normally performed after paying obeisance to the deity. Thereafter, leaves of special plants or petals of flowers are stuck to small spikes on the side of a figurine of the particular deity. The devotee then poses a question or makes a wish.The priest interprets the decision of the deity on the basis of what happens to the leaves or petals stuck on the spikes and the order of their fall. Decisions of the deity are scrpulously adhered to and respected. It is not only the Hindus who go for ‘prasada’ of a deity before embarking upon anything important, but also Christians.

POSSESSION
‘Possession’ is another part of the temple tradition. During the festivities likde Shigmo or Dhalo dance some devotees go into a trance. In another type of possession called ‘Bhar’ the possessed vocalises messages from deities or spirits.

DEVDASIS
Devdasi system, an ancient practice of the temples of the South, also prevailed in Goa till very recently and is now banned. Epigraphs of the Kadambas of Goa and inscriptions of the Southern Silaharas indicate that the Devdasis were not treated as menial servants but they were treated with respect as talented artists with freedom of sex. There were Kalavants in the well known temples of Goa like Mahalasa, Mangesh, Shantadrga, etc. There were two types of dancing girls associated with temples. The first type were called Kalavants and they used to be well versed in vocal music and the second type were called Bhavins. They were expected to sweep the premises of the temple and also perform such duties as carrying the essence burner.
The initiation ceremony called shens was held for the teenage girls of Kalavantas. After the shens ceremony the girl was permitted to be the mistress of only one man either a rich landlord or the temple priest. The devdasis who were supposed to be the servants of God generally became the servants of the priests and the Mahajans.

Mismanagement of temple funds & properties
During the eighteenth and the nineteenth century, the situation had improved with many of the immigrant families returning to the Old Conquests and commerce reestablished itself. Donations for the temples poured in and the temples became very rich. But all these donations and properties stood in the name of certain individuals, some of whom did not hesitate to utilise these funds for their personal gains.In order to check the malpractices the Portugese Government brought in the Edict in 1828 and again in 1881 and 1886 with stricter controls brought in through “Regulamento das Mazanias” and again revised in 1933, 1949 and 1951. “Regulamento” is the general law applicable to all temples. These regulation helped a great deal in putting an end to the misuse of the temple funds.
Some of the descendants of devdasis are today amongst the most renowned musicians, singers and dancers. Some have taken to politics and others have branched out to different trades and professions.

The Flight of Gods - Hindu Temples & Shrines of Goa - 5.

2009-04-14T18:20:00.000-07:00

The Flight of Gods

by Mohan Pai

The Lesser Gods

Local tribal priest at Bhumi Purush Shrine, Canacona - Photo by Mohan Pai

The Austric tribes like Gauddes, Kunbis (Kols, Mundas and Ouraons) who settled in Goa were the worshippers of Vetal, Naga and Pishacchas. These demigods haunted battlefields and places of violent death. These tribes also worshipped the evil spirits - Mharu, Joting and Devchar who are supposed to inhabit the tamarind, banyan, pipal and wild trees. The uninhabited and uncultivated land (ran) was seen as the realm of demonic beings (bhutavali), as well as the territory to which the spirits of people were transferred who had died an inauspicious death (Khetri, Alvantin, Samand, etc.).

Kalbhairav shrine near Pedne - Photo by Mohan Pai

The various types and sections of the inhabited and cultivated territories of the villages (Vade, Khazan, Vaigan, etc.) Were considered the domain of the spirits of ancestors (Purusha) and a specified set of divine and semi-divine beings. Central among them were and still are the Gramadevatas, or village deities who are considered as the spiritual founders and protectors of the village and have their abodes in the central village temples.

Vetal image from Loliem village - the tallest image of Vetal found so far.

- Photo by Mohan Pai

Subordinate to Gramadevatas is a group of semi-divine beings whose often aniconic shrines are situated at various liminal sites, such as way crosses, dams, river banks, sea shores and above all the boundaries of village territories and referred to as “Jageveile” or “Simeveile” which refers to the Konkani words for spot/locality and border.(Alexander Henn).
A number of deities of pre-Brahminic times were absorbed by Brahminic synthesis and unabsorbed deities have been converted into cacodemons, known generally as devchar but still worshipped by the lower castes as well as the Gauddes.(D. D. Kosambi)

Roadside shrine to Mharu, Usgaon- Photo by Mohan Pai

Ancient wood-carved Vetal image, Savorde, Sattari- Photo by Mohan Pai

The Cult of Vetal

Goa is considered to be the centre of Vetal cult. The tall stark naked stone images with emaciated bellies and in some sculptures a scorpion either on his chest or abdomen have been worshipped in Goa since early times. Though Vetal images are supposed to be naked, in some temples the priests dress them with a dhoti.Vetal, Kamakshi Temple, Shiroda- Photo by Mohan Pai

Vetal is a tribal deity which was absorbed into the Hindu pantheon after 1200 AD and became a part of the Brahminical temple (as Parivar devata or Panchayatan) but his popularity as a village deity did not decrease.
The Austric tribes worshipped Vetal from early times even when they were still in the stage of building temporary shelters.

Hence the shrines of Vetal were not provided any roof. The tribes believed that roofing over Vetal would bring grave misfortune to the misguided devotees. This was the period when they had learnt cultivation and started the slash-burn method farming. According to tradition, Vetal should not have a roof over his head and for this reason there are no temples to Vetal with classical architectural traditions. But the stone sculptures of Vetal in Goa clearly indicate that though Vetal was the God of masses, the images of Vetal were chiselled out artistically and worshipped in small shrines with thatched roof.

Vetal images have a dagger and a potsherd in his hands and he wears a Rundamala (Garland of human heads). His mouth is smeared with blood and he has fearful jaws. He has robust arms and is always naked. His hair is dishevelled and he is intoxicated with blood and wine. Vetal is supposed to be the chief of the Bhutas and included in Shiva gana.
In some temples of Vetal from Sanguem and Sattari taluka, twin images of Vetal are worshipped. Though both the images have similar features, one is called Agio (Agni Jiva) Vetal and the other Gorakh Vetal.

Occasionally, devotees of Vetal offer cocks, goats and buffaloes to him. In Pernem and Sanguem talukas hunted animals are offered and later shared and eaten by the devotees.
Vetal being the Gramadevata is the guardian of the village and he is supposed to move throughout the village at night and keep vigil over the property of his devotees. And hence his sandals get worn off. The devotees take a vow and make offering of sandals to Vetal. In the Vetal temple of Poinguini village, such sandals offered by the devotees are kept in a row.

Clay horses - votary offerings to Mharu- Photo by Mohan Pai

Mharu

Mharu is located on the outskirts of the villages. Like Vetal, he is the guardian of the villages and roams at night throughout the village. In Chandel and Varkhand of Pedne taluka and in Talaulim and Usgao of Ponda taluka we find Mharu worship. According to Buddhist legend Indra sent Mharu to disturb Buddha’s meditation. There is a tradition of offering terracotta horses to Mharu in some villages of Goa.

Bagil Paik, Mallikarjun Temple, Gaondongrem - Photo by Mohan Pai

Paik

Paiks are worshipped in some villages of Sanguem and Cancona talukas and is a Parivar devata in some shrines. He is shown as a horse rider. There are various types of Paiks such as Bagil Paik, Gode Paik, Razon Paik, Kanna Paik, etc.
Dadda
Dadda is similar to Vetal but its stature is inferior to that of Vetal. Dadda has been given the status of Parivar devata in many shrines of Goa. (V. R. Mitragotri)

Jageshwar - Photo by Mohan Pai

Ancestor Worship

In many communities ancestor worshipwas prevalent. Vadus, Satvats, Haiyas, Bhojakas, Andhakas, Chedis and Vishnis were worshipped as ancestors. The head of the families were called Kulupa. Thease heads(Kulupa) were supposed to have divine powers and they were idolised as Kulapurush. The worship of Gramapurush, Adipurush, Pardipurush, Kanadipurush, Gavdovmsh and Sutapurush is common in Goa. These ancestors occupy the position of Parivar devata in the temples of Goa. The ancestors are chiselled in stone Plaque and worshipped.

Roadside Shrine of Jageshwar-Photo by Mohan Pai

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The Flight of Gods - Hindu Temples & Shrines of Goa - 4.

2009-04-14T06:58:00.000-07:00

The Flight of Gods
by Mohan Pai

TULASI VRINDAVAN

One of the most enduring icon of the Hiduism is Tulasi or the Holy Basil plant (Ocium Sanctum).Tulasi has a special place in the Indian psyche -it has held the supreme place among the various herbs and has been worshipped as a divinity in the Indian household since the early Vedic times for thousands of years. Usually there is ashrine for Tulasi plant in the courtyard having images of deities on all four sides and an alcove for a small earthen lamp.
In Goa, this icon is very visible wherever you goin a multitude of varieties, often brightly painted versions, some quite elaborately constructed. Others are quite small and plain, decorated only with a painted ‘OM’. There is every graduation in between and, in less prosperous circumstances, a rough, baked clay version serves the purpose.

Vrindavan in a courtyard, Keri in Sattari - Pic by Mohan Pai

But even this simple household shrine which was a symbol of Hindu culture, was not tolerated and during the first fire of conquest, the Portugese evangelists ordered destruction of these shrines in every household in the conquered territories.

Poor man’s simple, mud Vrindavan

In most temples of Goa, Tulasi Vrindavans are an essential part of the layout. Usually it is located to one side of the front entrance to the mandapa. The Vrindavans vary from the majestic example of seven metres high Baroque inspired structure at the Mahalasa Temple at Mardol to the elaborately tile-decorated pedestal at the Mangueshi Temple.
The plant is termed “Vishnupriya”, the beloved of Vishnu. There are many Puranic legends according to which Tulasi is ceremonially married to Lord Vishnu annually on the 11th day of the month of Kartika in the Lunar Calendar and the ritual is called “Tulsi Lagna”which is celebrated in Goaespecially by the Gaud Saraswat Brahmin familieswith elaborate ceremony in which the image of Vishnu is richly decorated and then carried to the Tulasi Vrindavan and there the marriage is rituallysolemnised. On this occasion while Tualsi Plant is the bride, Jino Bodi (leca sambuce folia) represents the groom, Vishnu. Sugarcane represents the best man (dedo) and tamarindthe brides maid (dedi). Tulasi Lagna is part of the overall Deepavali festival and the Vivah day itself is called Greater Deepavali (Vodli Diwali) in Goa. This event inaugurates the marriage season in India.

7 meter high Tulasi Vrindavan at Mahalasa temple before it was demolished

According to the story about Tulasi related in Padma Purana, she was Vrinda in her former birth, the faithful wife of demon Jalandhar who born in water, claimed sovereignty over the ocean. He demanded 14 treasures churned out of the ocean in Vishnus’s second incarnation of the boar. Jalandhar declares war and becomes a threat to the Gods. More so because of a boon that assures that he would be free from death till his wife Vrinda remains chaste. As a last resort, Vishnu beguiles Vrinda by assuming her husband’s form. When she realises the deception, infuriated Vrinda curses Lord Vishnu who is turned into a black stone (Shaligram). Lord Vishnu also retaliates but in admiration of her impeccable chastity and piety he turns her into the sacred Tulasi plant and promises to marry her annually on this day of Kartika month.

Another story states that Tulasi was the paramour of Lord Vishnu. Out of jealousy Goddess Lakshmi cursed her and turned her into a plant. The Lord transferred himself into the sacred Shalagram stone to keep her company. The origin of the ammonite black stone found on the river bed of Gandaki may be attributed to this legend.

Pic: courtesy ‘Parmal’

The cultural mythology of Tulasi plant and its medicinal uses are intricately linked. Holy basilhas been traditionally used in Ayurveda to treat many ailments. This plant of Indian origin gradually spread all over the world as an unique herb.
Traditional Hindu women worship the holy plant every morning and evening with ‘pradakshana’ (Circumambulation) to promote well-being of the household.

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For some of my articles visit:
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http://mohanpaisarticles.blogspot.com/
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For some key chapters from my book "The Western Ghats", please log on to:http://westernghats-paimohan.blogspot.com/
For detailed blog (6 Chapters) on Mahadayi/Mandovi River Valley, please log on to:http://mohan-pai.blogspot.com/
For the book 'The Elderly' please log on to:http://oldagecare-paimohan.blogspot.com/
You can also access my blogs on Sulekha and Wordpress:
For my book "The Flight of Gods - Hindu Temples & Shrines of Goa" please log on to:http://mohanpai.sulekha.com/blog/posts/pageno-1.htm http://flightofgods.sulekha.com/blog/posts.htm http://flightofgods.blogspot.com/

Flight of Gods - Hindu Temples & Shrines of Goa -3

2009-04-13T23:12:00.000-07:00

The Flight of Gods

by Mohan Pai

GOUD SARASWAT SAGA

Goud Saraswat Brahmin community called the ‘Bamans’ in Goa is the largest Brahmin community in Goa that has dominated the Hindu religious and cultural scene in Goa.
The history of the GSBs goes back to several millenia and the history is hazy. According to some sources they migrated to Goa around 700 BC but some historians push back there settlement in Goa to around 2,500 BC.
With the advent of the Aryans, the original settlers - Gauddes, Kunbis, Mhars, Dhangars, Velips etc. were subjugated and treated as Shudras. The coastal society characterised by the administration of their lands within the village communities, the ‘Gaoponn’- belonging to and managed by the community. The GSBs assumed control of these institutions and established their hegemony over the economic resources and socio-ritual pratices of the society.
The GSBs claim their origin to the Vedic civilisation on the banks of Saraswati, now the extinct river of the Punjab and their name is derived from the river Saraswati. The exact origin of the GSBs is difficult to ascertain. According to the Puranas, they are Aryan migrants from the Central Asia who came to the Indian sub-continent through the Hindu-Kush mountains to the south in about 5,000-2,000 BC. Vedic texts mention that the Rigvedic people lived on the banks of the Saraswati. The Saraswat Brahmins are mentioned in the Vedas, the Ramayana, the Mahabharata, the Bhagavata and the Bhavisyottara Purana, deriving their lineage from the great sage Saraswat Muni who lived on the banks of the river Saraswati.

Drained by seven rivers (Sapta Sindhu), the region of Brahmavarta is referred to as the cradle of Indian civilisation. This ancient civilisation of India had an extended period of development from 5,000 to 2,000 BC when a great period of drought seemed to have put an end to it. The river Saraswati also dried up during this period forcing the Vedic people to migrate to the east, the west and the south. The three main groups migrated to Goa were the Bhojas, the Chediyas (Chardos) and the Saraswats who are supposed to have come via Trihotra in Bihar. It is also claimed that they moved southward mostly through the sea routes on the west coast coming down via Sindh and Gujarat. They settled in Gomantak region of Keloshi (Qulossim) and Kushasthal (Cortallim). Thirty families were grouped into one commune and sixty in another. The first commune was known as Tiswadi meaning 30 villages, and the other Shasasthis meaning 66 (Salcette). Together the settlements which amounted to 96 and referred to as Sahanavis (meaning 96). The name Shenvis or Shenoy is probably derived from here.

LEGEND OF PARASHURAM

The mythical creation of Goa is ascribed to Lord Parashuram, the sixth incarnation of God Vishnu.
According to this legend in Goa, Lord Parashuram, the axe-wielding avatar of God Vishnu is the son of Jamadagni and Renuka. Jamadagni is murdered by the despotic Kshatriyas because he refuses to part with ‘Kamadhenu’, his wish-fullfilling cow. In revenge Lord Parashurama traverses the earth twenty one times and wipes out all the Kshatriyas. Parashuram, struck by remorse tries to expiate his sins by performing yagnyas during which he gifts away all his lands to Sage Kashyapa with no land even to build an hermitage for himself. Varuna, the Sea God comes to his rescue and offers him to gain as much land that he could span by shooting an arrow into the waters. Lord Parashuram goes to the highest peak in the Sahyadris and shoots an arrow into the sea. The spot where the arrow fell is the present day Banaulim (bana is arrow in Sanskrit and halli means village in Kannada). To his new reclaimed land in Goa Lord Parashuram brought 96 families of the Panchagouda Brahmins from Trihotra and settled them at Mathagrama (Madgaon), Kushasthali (Cortallim) and Kardalli (Keloshi). There still exists a ‘Mountain of Ash’ in Harmal of Pernem taluk which marks the site of Lord Parashuram’s Ashvamedha Yagnya.
There is a temple for Lord Parashurama at Poinguini village in Goa. It is one of the rare temples to Lord Parashurama. There are only two other places in India where the temples of Lord Parashuram exist: one at Parashuram Pethe near Chiplun in Maharashtra and the other in Payannur in Kerala.We see mention of GSBs in the inscriptions clearly from

A painting of Lord Parashuramat Parashuram temple in Poiguini

as early as the tenth century onward because of their names which are common among GSBs. They might have received grants and positions in the agraharas even earlier, but we are not in a position to identify. The names of Sangalya Pai and his son Anna Pai appear in Silhara copper plate of 997 AD in north Konkan. The Marcella plates of Goa Kadamba ruler Chatta or Shasta II dated 1038 AD mention the names of officers like Pradhana (Prime Minister) Shriya Pai, Dama Pai, Mav Pai, Mahalla (Mahalkar), Kallapai and Sanvigrahi (Foreign Minister) Mallapai. The first record of the Yadavas of Devgiri, the Sinner plates dated 1,000 AD mentions grants given to twenty one bragmins and donees include Maalpaiya, Dandapaiya, Bhikkapai, Vachach Pai - mostly GSBs.

AGRAHARAS

In olden days agrahara or Brahmin settlements were founded by kings and rulers by donating land grants and providing them with houses so that they could engage themselves in their six-fold duties. The lands granted were ‘Sarvamanya’ - free from revenue payment. Brahmins did not till or cultivate these lands, but enjoyed a part of its products and earned their livelihood. Goa had hundreds of agraharas in which the Brahmin communities were settled. GSBs were invited by various rulers to settle down in Gomantak, beginning perhaps with the Satvahanas (2,000 years ago) to the Goa Kadambas in the tenth century.

The Brahmins who received such grants were called ‘mahajans’. Salgaon (from Shalagrama) was an agrahara; Marcella or Mashel (from Mahashala), Salvali, Saleli, Sal, Odshel (Hodli Shala) Madgaon or Mathashala etc. are some of the names which clearly indicate their being centres of learning or agraharas. Apart from performing religious functions, they also taught and guided the community in all its persuits like agriculture, horticulture, animal husbandry, etc. The Mahajans of the agraharas were learned men and specialised in Ayurveda, Pashuvaidya, astronomy, astrology, metallurgy, botany, etc.

The settlers of the agraharas, over a period, probably multiplied to such an extent that the lands granted to the families several centuries ago were insufficient to support the families and the young men of the family had to find other avenues like trade and government service. So they became merchants, village accountants, clerks, interpreters and even higher officials like the Desais, ministers and administrators as they were the literati and the community prospered.

The GSBs also brought with them their family deities and built their temples and also accepted the various local gramadevatas into Hinduism. The temples were built within or in the vicinity of the agraharas and became the prime religious and social centres for the local Communities.

Tom Pires, a Portugese apothecary, who came to India in 1514 after Albuquerque conquered Ilhas mentions in his writings that there was a very large Hindu population and he gives the following description which obviously is that of the Gauda Sarswat elite:“There are a great many heathens in the kingdom of Goa ...Some of them very honoured men with large fortunes; and almost the whole kingdom lies in their hands, ... Some of them are noblemen with many followers and lands of their own and are persons of great repute, and wealthy, and they live on their estates which are gay and fresh ... They have beautiful temples of their own in this kingdom ... There are some very honoured stocks among these Brahmins ... These Brahmins are greatly revered throughout the country, particularly among the heathens... They are clever, prudent, learned in their religion. A Brahmin would not become a Mohammedan (even) if he were a king.”

By the middle of the sixteenth century all the villages in the “Old Conquest” had become Catholic. The Hindus remained only in the townships. There was an exodus of the Hindus. Thousands of families fled from the horrors to the areas outside the Portugese control to the northern Konkan and to the southern coast and settled down all along the coast in the towns of Karwar, Gokarna, Kumta, Honavar, Bhatkal, Kasargod, Calicut and Cochin.
The Hindu elite, mostly the Gaud Saraswats, who stayed behind earned profits through their collaboration with the Portugese and these profits were used by the Hindus for the reconstruction of the temples of the migrant deities outside the reach of the missionaries, in the Antruz Mahal in particular. The Portugese discovered that the Christian Goa was encircled in an arc by the resurrected Hindu temples towards which they had indirectly contributed and this rankled and frustrated the missionaries to no end.

For centuries, the Goud Saraswat Brahmins had established their economic hegemony over Goa through colonisation of the low-lying saline coastal lands. In the face of an aggressive proselyting European colonial power, with their grit and determination, they seem to have triumphed. Dispossessed of the lands that they had developed, the GSBs assumed a controlling position in the coastal trade and still played vital role in Goa’s economy. In the 17th, 18th and 19th centuries, these same traders bailed out the Portugese Government by arranging finance when the Government coffers were empty.missionaries considerably abated and especially when Marquis de Pombal, the liberal Prime Minister came to power there was definite change in the policy towards the Hindus and he even banished the Jesuits. A number of Hindu families who had fled the old conquests returned during this period. But, by the 19th century, both the ruling country and the colony had become archaic survivors.

The Gaud Saraswat Brahmins in particular and other Hindu communities in Goa remained insulated from what was happening to their co-religionists in other parts of India. The Goan Hindu is therefore of relatively greater purity than Hindus elsewhere and have guarded zealously their religious rites, practices and of the observance of customs, rituals and festivals. At the same time, they were the ones who by their own grit and intelligence managed to survive the dark period of the inquisition by making themselves indispensable.

The Portugese would have continued this fanatical evangelism movement relentlessly till the total extermination of the non-Christians was achieved but for the rapid collapse of Portugal’s eastern commercial empire with its inevitable effect on Goa which faced moral and economic decadence and the initial religious zealotory.

Hindu Communities of Goa

BRAHMINS
Among the other smaller groups of Brahmins are 1. Karhades 2. Padhyes 3. Bhattaprabhu and 4. Kramavant Joshis
Karhade Brahmins speak Marathi and were probably natives of Karad in Maharashtra. The Silaharas of Kolhapur as well as the Southern Silaharas and the Kadambas patronized Karhade Brahmins. Karhades claim that they were among the earliest Aryan migrants to Goa. Padheye Brahmins are believed to be a section of Karhade Brahmins. They also speak Marathi and their sttlements are mainly concentrated in Ponda taluka and they own large ‘Kulagars’ (betel-nut and coconut plantations). Bhattaprabhu community originally belongs to Bori and Siroda of Ponda taluka. Although there is a considerable similarity in the social conditions of Bhattaprabhu and Padheyes, unlike Karhades and Padheyes, Bhattaprabhus speak Konkani. Kramavant Brahmins is another small but separate group who mostly performed rituals after the death and hence they were called Kriyavant, a term corrupted to Kramavant.

GURAVAS
Like the above groups of brahmins, the guravas is also a small community in Goa. Guravas were the worshippers of Lord Shiva. There are Gurava priests in the temples of Chandreshwae-Bhutanath, Saptakoteshwar and Mhalasa and were priests in the shrines of Gramadevatas scattered all over Goa.

PANCHALA BRAHMINS
The artisas such as gold-smiths, black-smiths, carpentars, sculptors (Shilpis and Stapatis), copper-smiths were called the Panchala Brahmins. It is believed that along with Goud Saraswat Brahmins, Panchala Brahmins were also brought to Goa by Lord Parashuram about 2,500 BC to assist the priests in performing sacrifices.

SHETS (Goldsmiths)
The Goldsmiths probably arrived in Goa during the Gaud Saraswat migration with other artisans. They call themselves Daividnya Brahmins and probably inherited their arts from the Bhojas. The local goldsmiths, Shets or Chalims as they are referred to in Portugese documents, constituted a powerful economic presence in the sixteenth century Goa, for the exquisite expertise of their craft which has earned them rich accolades at home and abroad. Some of them even went to Portugal and worked their for the king. The economic power that the Shets wielded during that time enabled them to live and work in Goa on their own terms, or emigrate with their religion in tact and claiming higher status in the early medieval period.

The other groups in this section included Sculpters (Stapathis) and Architects Carpenters and Blacksmiths whose work can be seen in the carved wooden pillars and decorative wood ceilings of Goa temples. After the Portugese atrocities, most of these groups migrated to Uttara Kannada region.

VAISHYAS (Vanis)
The Bhojas were the first rulers to have established an administrative machinery in Goa and they also controlled the piracy and gave impetus to increased commercial activity.
There is reference to Adityashreshti in Siroda copper plate of Devaraja. It is evident that merchants were engaged in trade and commerce as early as 400 AD in Goa and there were probably their settlements on the banks of the Mandovi and Zuari and the trade routes. Vanis were called Shresthis and the family name Shirsat may have originated from the word Shreshti. Vaishys come next to Kshatriyas in the four-fold division of the society (Chaturvarna).

KSHATRIYAS/CHARDOS
Kshatriya families migrated from the North to the Deccan in pre-Christian and early Christian era. Some scholars consider Chardos of Goa to be Kshatriyas. Some scholars identify Marathas with Kshatriyas and they may have reached Goa during the period of the Badami Chalukyas. It is mentioned that Rashtrakutas and Silaharas were Marathas.

RANES OF SATTARI
The Ranes claim their descent from the Rajputs of Rajputana. They were thesardesais or hereditary fiefholders of Sanquelim and Guilloilem, holding under their feudal sway, the territory of Sattari - the land of seventy villages.The Ranes have been well-known for their attempts to dislodge the Portugesefrom Goa. In all there were about fourteen rebellions out of which the most successful one was organised by Dipaji Rane.Kushtoba Rane is a well-known historical personality and an immortal hero of the folk and popular songs.

GAVADE-KUNBI
Gavades are known as “Mull Goenkar” or the original inhabitants of Goa and they form a large part of the rural population estimated to be around 3 lakhs.

Kunbi Woman

VELIPS
The Velip community is found mostly in the talukas of Canacona and Quepem. In comparison with the Gavades, they are fair and handsome. The Velips are credited with discovering the Linga of Mallikarjun and hence, the Velip acts as a priest for three months every year. Velips are generally forest dwellers and practiced the ‘Kumeri’ (burn and slash) method of shifting cultivation.

DHANGARS (Gavalys)

Gavalys originally came from Maharashtra and are mostly found in Sattari and Sanguem talukas. Dhangars are strictly a pastoral tribe.

Old traditions die hard - Syncretism

The Hindu practices or activities were very much part of the new converts. For example, the edicts publihed by Goa Inquisition in 1736, after over two centuries of Catholisism in Goa, list out 42 so-called Hindu pratices and customs which were prohibited through the edicts. As many of the prohibited customs still survive today, it is clear that the Inquisition was unable to shake off the Hindu quality of Goan Christianity. Goa has Brahmin and Chardos Christians and Christians of lower caste. The main fact remains is that the caste mechanism was in effect transferred in its essence to a casteless religion because of the transfer of classes with essentially the same productive relations. Caste appears to be a stronger source of bonding than religion.The syncretism has established a common meeting point between the Hindus and the Catholics in terms of devotion and ritualistic practices. Requests for miraculous cure, prasada (oracle), vows, offerings, temple feasts, etc. draw a section of the local Catholic community to Hindu temples. The umbrella festival of Cuncolim is a classic example when in the month of March, the image of Shanta Durga is brought by solid silver palanquin in a vast and colourful procession from Fatorpa to Cuncolim. Each umbrella is different and stands for one of the twelve Chardo clans from Cuncolim area. A large number of Catholics attend this event.In the villages of Cuncolim, Assolna, Velim, and Veroda, Catholic and Hindu Chardo clans openly cooperate as kin, standing against lower caste invasion of their traditional privileges. In this case, common religious belief in the goddess Shanta Durga strengthens the feeling of common kinship and history.

Dhalo

According to the Gazeteer of the erstwhile Union Territory, 1979, the Gavade belong to Astraloid race and were the first to settle in Goa even before the Dravidians and the Aryans. After the invasion of the Aryans, they adopted Hinduism as their religion, but continued their own form of worship and rituals.The Hindu Gavade worship Bali, Bhima and Mallikarjun.The Portugese forcibly converted some of them to Christianity in the 17th century. In 1928 the “Shuddhi” movement by Masurker Maharaj reconverted some of them to Hinduism and they are called Nav-Hindu Gavade. These reconvertees, unfortunately not accepted by either the Hindu or Christian Gavades, maintain a separate identity.

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Flight of Gods - Hindu Temples & Shrines of Goa - 2

2009-04-13T22:25:00.000-07:00

The Flight of Gods

by Mohan Pai

THE PORTUGESE EPISODE

“Almas e especiaria” (We come to seek Christians and Spices) said Vasco da Gama, who landed at Kappad beach near Calicut in 1498 after rounding the Cape of Good Hope, the first to negotiate the sea route from Europe to India. Following his epic voyage, the Portugese built bases at Anjediva Island near Goa and at Cannanore.
Portugal was the first European country to establish its colonial presence in India and the last to leave its shores. They were ruthless conquerors and proselytism was their main aim. They came “Cujus regio, illius religio” - Sword in one hand and the Cross in the other - a policy of fanatical evangelisation especially after the introduction of the “rigour of mercy” (rigor de misericordia) in 1541.

Memorial to Vasco da Gama at Kappad Beach, Kerala - Pic by Mohan Pai

Afonso Albuquerque succeeded in capturing the island of Ilhas (Tiswadi) with 20 ships and 1200 men after two attempts a bitter fight with the forces of Adil Shah. His main collaborators were Timaji, the Vijayanagar Admiral and Mhall Pai Vernekar, the Sardesai of Verna. It was at the invitation of Goan Hindus that Afonso Albuquerque decided to attack Goa. The Hindus were considerably disturbed by the activities of the Navayats who were brought by Adil Shah to Goa from Honavar and Bhatkal and who indulged in frequent acts of harrassment against the local Hindus. The militarygovernors under the Mohamedans, themselves local men, called the Desais were hated for their autocratic behaviour, which wen as far as forcing their formal equals to work as menials in the household, and treating the communal land as feudal if not private property. Afonso Albuquerque, during this attack put to death over 6,000 Muslims without showing any mercy..By 1543, the Portugese had annexed from the Bijapuris the adjoining lands of Bardez in the north and Salcete in the south. These three territories of the Ilhas (Tiswadi), Bardez and Salcete were designated as the “Old Conquests”.

Blue-tiled murals which line the entrance hall of the Menezes BraganzaInstitute. It’s a uniquely Portugese art form ‘azulezos’ which depictscenes from the great poem by Luis de Camos, ‘The Lusiads’ whichtells the story of the adventure of the Portugese Empire in the east.

It was not until 1764 that the ruler of Sonda threatened by the invasion of Hyder Ali, sought an asylum with the Portugese and placed his territories of Ponda, Sanguem, Ouepem and Canacona in the custody of the Portugese. Between 1781 and 1788 the Portugese succeededin negotiating and acquiring the northern areas of Pernem, Bicholim and Sattari from Bhonsales of Sawantwadi. Thus by 1788 the present boundaries of Goa were in place under the Portugese.

The proselytising of the local Hindus began in real earnest with the appointment of Miguel Vaz Coutinho as the Vicar-General of Goa in1941 who is credited withthe launching of concentrated and oppressive attacks on the local Hindus. Their temples destroyed, lands confiscated and their revenues and the material of the destroyed temples made available for the construction of churches and other ‘pious’ works. Again the decree of 1559 sanctioned the emolition of Hindu temples and idols, prohibited making of such images, banned the celebration of Hindu feasts, prohibited cremation of the Hindu dead and exiled Hindu priests.In 1560, ‘celebrating’ fifty years of Portugese occupation, the horrors of the Inquisition were inflicted on Goa. Described as “the Terrible Tribunal for the East”, the inquisition brought in its wake a fresh wave of religious persecution for the Hindus who were forced to convert or be damned to a life of harassment or emigration and as a result rapid and extensive conversions were achieved. Many were converted by fear of physical force, others from moral cowardice and quite a few to avoid loss of their property. This caused a general emigration of higher caste Hindus, and the tradition was that one brother of an extensive joint family would stay behind to be converted with his wife and children, for the sake of the land, while the rest fled.

This led to a breakup of what would have been the final type of patriarchal family. But the subsidiary effect was curious, in that henceforth Goa had “Brahmin Christians” and Christians of lower castes, the caste mechanism having been transferred in its essence to a casteless religion. Between 1541 and 1568 all the existing Hindu temples in the Ilhas, Bardez and Salcete were completely destroyed by the Portugese and according to the record there were 116 temples in the Ilhas, 176 in Bardez and 264 in Salcete. The Arch of the Viceroys, which once was the main gateway to the city was built by Vasco da Gama’s great-grandson. On taking office, all Viceroys made their processional entrance with great ceremony through this archway where they were presented with the keys of the city.

The Arch of the Viceroys , Old Goa - Pic by Mohan Pai

By the end of the sixteenth century all the villages in the “old Conquest” had become Catholic. The Hindus remained only in the townships. There was an exodus of the Hindus. Thousands of families fled from the horrors to the areas outside the Portugese control to the northern Konkan and to the southern coast and settled down all along the coast in the towns of Karwar, Gokarna, Kumta, Honavar, Bhatkal, Kasargod, Calicut and Cochin.

At the end of the seventeenth century it is estimated that out of a total population of two hundred fifty thousand in the Old Conquests, only twenty thousand were non-Christians. These included a large number of traders and visitors who were in Goa for temporary stays.

The Portugese would have continued this fanatical evangelism movement relentlessly till the total extermination of the non-Christians was achieved but for the rapid collapse of Portugal’s eastern commercial empire with its inevitable effect on Goa which faced moral and economic decadence and the initial religious zealotory of the missionaries considerably abated especially when Marquis de Pombal, the liberal Prime Minister came to power there was definite change in the policy towards the Hindus and he even banished the Jesuits. A number of Hindu families who had fled the old conquests returned during this period. But, by the 19th century, both the ruling country and the colony had become archaic survivors.

“GOA DOURADA”

Buddhism came to Goa in 2nd century BC and the reference to Goa in the Buddhist documents is made as ‘Suvarnabhumi’ and ‘Sunaparanta’ meaning the ‘Land of Gold. The Portugese did not create the “Golden Goa”. On the contrary it was the prosperity, opulence and fabulous wealth of an already legendary “Golden Goa” that drew them to possess it. Goa was already a fabled realm around which “ Tales from the Arabian Nights” were woven. When the Portugese came, the city and port had shifted to the north, to the banks of the Mandovi. But by all accounts, it was by then even more important and splendidly prosperous. Goa had remained a major entrepot for centuries - under the Kadambas, under Vijayanagar and under the Bahamanis. Ships still sailed from Sumatra (even China), Aden and Hormuz. Overland caravans brought the fabled riches of the central and south India from Devgiri (Daulatabad) and Vijayanagar(Hampi) to be traded for horses and muskets.

With the Portugese came mal-administration, rampant corruption, religious bigotry and brutal persecution. The public treasury was depleted and consuming public epidemics and perhaps more than anything else, the forced conversions and the black practices of the Goa Inquisition hastened the end of prosperity and the “Golden Goa”.

During the seventeenth century the religious fervour was at its peak showing no signs of flagging, in the face of degeneration in other aspects of Goan life. It was a ‘museum’ of 16th century imperialism, more plentifully supplied with churches than trade and with monks than soldiers. With progressive deterioration in civil administration, the ‘monks’ assumed considerable importance and influence, and the conversion process continued with frentic vigour. A great surge of ecclesiastical building had followed the arrival of the religious orders after 1540 and religious fervor backed by the accumulated wealth of Goa’s commercial heyday, now carried this architectural exuberance throughout the period of economic and political disarray on even a grander scale than before. This was the time when the great churches of Goa were completed and the city itself continued to present a brave social front, flaunting ostentation and luxury in defiance of economic circumstances.

Se Cathedral, Old Goa - Pic by Mohan Pai

The Se Cathedral is one of the largest in Asia and took nearly 90 years for completion after the church was ordered to be built by the King of Portugal in 1562. This was the seat of the Roman Catholic Church in Asia inthe 16th and 17th centuries. It was built in the Renaissance style with some traces of Portugese Gothic. The famous “Golden Bell”, the largest bell in Goa is housed here.

The ‘gold’ of Goa Dourada refers not only to the sixteenth century glitter of churches and the prosperity of city of Goa but to its being European - the ‘Rome of the East’ possessing distinctly Lusitanian flavour. But the real Goa was ‘Goa Indica’, an essentially the eastern looking mode of cultural expression that sought religious, cultural and economic affiliation to the mainstream India.
Goa continued to languish under the Portugese colonial rule as a decadent province with a ruined economy and they did little besides maintaining order. Economic development was minimal, educational opportunities were lacking for the majority of people and political liberties lagged far behind those in the British territories across the border. These conditions turned Goa into a land from which its people migrated and went into exile and sought work and higher education in Bangalore, Belgaum, Calcutta, Karachi and above all, Bombay. Many Goans moved out of India to British colonies in East Africa and onto passenger ships as stewards, cooks and crew.

Portugal became a Republic in 1910 which liberated the Hindus of Goa from centuries of discrimination and repression. Immediately they flooded into schools, formed associations, started journals and libraries and took active role in public life as teachers, members of government councils and administrative officials. But by the year 1926 Salazar regime was established and this imposed fresh restrictions.
After World War II, Portugal tried to hold on to the fragments of her Indian empire By belatedly encouraging industries like mining and by turning Goa into a duty-free port.
The Portugese colonies of Goa, Daman and Diu were finally liberated from the decadent colonialism by Indian armed forces on December 19, 1961. The Portugese had clung to these pockets for 451 years.

In the year 1851 the Christian population of Goa amounted to 64.5%, mostlyThe converted masses from the Old Conquests. By the year 1910 the Christian and the Hindu population were almost equal (50% each). In 2003 Hindus areIn majority (66%) followed by the Christians (26%) and Muslims (7%).

The major Hindu groups are represented by the Brahmin communities (Gaud Saraswats, Karhade, Padhye, Battaprabhu, etc.), Shets (Goldsmiths), Vaishyas(Vanis), Ksahtriyas, Guravs and a large population of the original Pre-Dravidian and Dravidian settlers represented by Gauddes, Kulawadis, Kharvis, Kulambis(Kunbis), Velips, Dhangars, Gavlis. Mhars, etc. who were absorbed into Hinduism.
These tribes made Goa a place of rich and Vibrant culture as represented by ‘Gaunkaris’, their folk dances and songs like the Gaudde Jagor, Kunbi Naach, Dhalo, Gudulyan geet, Perni Jagor and their folk deities - Vetal and Santer cults which are the original cults of Gauddes and Kunbis.

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