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The worship of Salhesh is deeply rooted in the traditions of the Dusadh caste, a historically marginalized group within the Madhesi community. Though the caste system continues to influence social structures across the Madhes from east to west, the reverence for Salhesh unites people across caste lines during his annual celebration.

Salhesh, also known as Shailesh—meaning ‘King of the Mountains’—is regarded as the domestic deity of the Dusadhs. He is believed to have lived during the 7th or 8th century in Mahisautha, where he was known as King Jayabardhan Salhesh. He was the eldest of four siblings: his brothers were Motiram and Budhesar, his sister Banaspati, and his niece Karikanha. Banaspati was known as the mother queen of Bagh Fort. The stories of Salhesh form the basis of a vibrant dance-drama performed by a priest, accompanied by a large traditional drum known as the dholak.

According to tradition, Salhesh was the first chaukidar (night watchman) of the village, earning him heroic status within the Dusadh caste. Their traditional role was to guard villages at night, receiving paddy and coins as payment. In every village across the Madhes region, there exists a shrine dedicated to Salhesh, known as Salhes Sthan. These shrines, usually found under the sacred peepal tree on the village outskirts, consist of clay platforms representing characters from Salhesh folklore.

Worship at these shrines is conducted with deep reverence. Devotees offer rice, incense, sandals, and other ritual items, accompanied by folk songs, such as this one from the Salhesh Ballad:

Khan khan rahaichhi ham Beluka Garhme
Khan rahaichhi Sarabag me
Manik Dah me snan karatchhe, Garh pokhari me Mai sumarait chhi
Bhagaichhi ta yeki Maliniya ke khatir
Gadhpakariya me Maiya ke sumirichhi

 (Sometimes I live in Belukagarh, sometimes in Sarabag.
I bathe in Manik Dah and remember Mother Goddess Durga.
I wander in search of my beloved Maliniya,
And recall the goddess in Gadhpakariya.)

As a young man, Salhesh is said to have bathed daily in Manik Dah, a local pond, before heading to a garden—now known as Salhesh Phulbari—to pluck fresh flowers for his beloved. These routines have become symbolic rituals reenacted during worship. Salhesh is revered not only as a historical figure but as a cultural icon whose myth is woven into the social fabric of Mithila, both in Nepal and across the border in India.

As cultural expert Prem Khatri puts it: “Salhesh lives in the minds of the people of Mithila—from Nepal Tarai to the holy Ganges in India. His legends blur national borders, allowing human connection to transcend political boundaries during festivals like Ram Navami (Chaite Dashain).”

The dance-drama honoring Salhesh is performed annually with grandeur, resembling a village fair. While the deity is primarily worshipped by the Dusadh community, people of all castes participate. The rituals are conducted in open spaces, without elaborate temple structures. A priest, believed to be spiritually possessed by the deity, leads the ceremony. He shivers, chants mantras, walks on the edge of a sword, and distributes rice and flowers as blessings—actions meant to signify Salhesh’s divine presence.

Renowned Indian scholar Radha Krishna Chaudhary writes: “It is practically a one-man show—the priest trembles, shouts, walks on swords, sings ballads, and blesses the audience. The entire performance is thrilling, sometimes inspiring, and often a delight to the senses.”

Salhesh is especially honored during the Nepali New Year at places like Mahisautha, Salhesh Phulbari, and Patari Pokhari. In Siraha, the Haram tree near Salhesh’s temple is a source of wonder. Each year, a white garland mysteriously blooms in the tree’s center, believed to represent Salhesh’s unfulfilled lover, Dauna Malin. Legend has it she appears once a year in floral form to spend a fleeting moment with Salhesh before fading away. Despite local botanists’ interest, this phenomenon remains unexplained and continues to attract pilgrims and researchers from both Nepal and India.

Historically viewed as a lower caste, the Dusadhs—also known as Paswan—were denied equal status for centuries. However, in modern democratic Nepal, caste-based discrimination is on the decline, and all communities are increasingly seen as equals. Today, Dusadhs participate fully in social and civic life, and their patron deity, Salhesh, has become a symbol of resilience, pride, and cultural identity.

Another important site, Salhesgarh, contains an ancient mound believed to be linked to the deity. It houses a small shrine (Gahwar) to Salhesh, now in a state of neglect but still held sacred by the community.

Mithila is a land of legends, vibrant culture, and an unbroken cycle of fairs and festivals that weave through the year like a colorful tapestry. These celebrations are not mere events but a way of life—expressing joy, sorrow, hope, and resilience. They mark the changing seasons, infusing meaning into everyday existence while strengthening the bonds of community.

Among these festivals, Rama Navami stands out, heralding the arrival of spring and celebrating the birth of Lord Rama. Observed on the ninth day of the bright lunar fortnight (Shukla Paksha) in the month of Chaitra (April), it is marked by grand fairs, devotional songs, and fervent worship.

According to ancient lore, King Dashrath of Ayodhya—a prosperous and benevolent ruler—was childless despite having three devoted queens. Distressed, he performed a sacred yagna (fire ritual) upon Lord Vishnu’s advice. Pleased by his devotion, the gods bestowed upon him a bowl of kheer (rice pudding). Another version narrates that the fire god Agni himself emerged from the yagna and presented the divine dessert.

Dashrath distributed the kheer among his queens: Kaushalya, Kaikeyi, and Sumitra. In time, Kaushalya gave birth to Rama, Kaikeyi to Bharat, and Sumitra to the twins Lakshman and Shatrughan. Thus, Rama, the divine prince and embodiment of virtue, was born.

On Rama Navami, devotees fast, chant Rama’s name, and recite sacred texts like Tulsidas’s Ramcharitmanas in the Tarai-Madhes region and Bhanubhakta’s Ramayan in Nepal’s hills and Kathmandu Valley. Temples dedicated to Rama resonate with hymns, and the faithful immerse themselves in prayer, seeking blessings and solace.

The life of Rama has been immortalized in countless versions across languages and cultures. Valmiki’s Ramayan, the original Sanskrit epic, chronicles his journey through seven kandas (episodes), from his childhood (Bal Kand) to his final years (Uttar Kand).

Inspired by Valmiki, poets like Bhanubhakta (Nepali), Tulsidas (Hindi), and Chanda Jha (Maithili) retold the epic in their own tongues, each adding unique literary brilliance. Beyond South Asia, Rama’s story thrives—Thailand’s Ramakien, Indonesia’s Kakawin Ramayana, and other adaptations testify to his enduring legacy.

Rama is revered not just as a god but as the perfect human—an obedient son, a devoted husband, and a just ruler. His birth anniversary, Rama Navami, transcends borders, uniting devotees in Nepal, India, and beyond.

It is said that hearing Rama’s tale purifies the soul, and chanting his name alleviates suffering. Thus, this festival is not merely a ritual but a reaffirmation of faith, virtue, and the timeless wisdom of the Ramayan.

Jurshital is an ancient folk festival celebrated across Madhes, akin to Holi, but with the joyous tradition of playing with mud instead of colors. This festival is observed annually before the advent of the New Year in the Bikram Sambat (BS) calendar. It is a social festival enjoyed by all, characterized by fun and merriment. Jurshital is neither entirely cultural nor religious; rather, it is a one-day festivity that brings people together in celebration.

The festival marks the beginning of the New Year in the spring season, a time when the weather is neither too hot nor too cold, creating a soothing and pleasant atmosphere. It is widely celebrated by Maithili, Bhojpuri, Awadhi, and Tharu-speaking communities in southern Nepal, as well as in certain regions of neighboring India. Jurshital usually falls on April 14th or 15th each year, heralding the arrival of the New Year in the Bikram era.

Jurshital embodies a deep connection between nature and humanity. In today’s fast-paced world, people often struggle to appreciate the beauty of nature. As the poet William Wordsworth once wrote:

“The world is too much with us; we have no time to stand and stare.”

This festival serves as a reminder to reconnect with nature. The very name ‘Jurshital’ reflects this essence: ‘Jur’ means connection, and ‘Shital’ means coolness. It symbolizes staying calm and composed, even if just for a day. Playing with fresh, pure mud is believed to have medicinal benefits, acting as a natural remedy for skin ailments and stress.

One of the unique traditions of the festival is the act of seniors pouring cold water on the heads of juniors, signifying blessings and a wish for a calm and peaceful mind. This ritual strengthens social and cultural bonds within the community. Additionally, plants, trees, and animals are also included in the celebrations, as people pour pure and cool water over them early in the morning to maintain the ecosystem.

Jurshital begins with a local ritual called ‘Satuaiyan’ on the first day of Baisakh. The second day, Baisakh 2nd, is marked by the practice of seniors pouring water on juniors’ heads as a gesture of love and well-being. A significant aspect of the festival is the consumption of ‘Satua’, a flour made from roasted gram, which keeps the body cool and is rich in nutrients such as iron and magnesium. This medicinal diet is high in protein and low in sodium, making it an ideal breakfast choice.

Another traditional practice during Jurshital is giving the kitchen a break for a day. People eat food prepared the previous day, which is believed to be cooling for the body and mind. Delicacies such as cold curd-based curry, rice, ‘badi’ (sun-dried lentil dumplings), mango chutney, drumstick (‘Sohijan’) curry, and vegetable fritters are enjoyed. This practice also symbolizes respect for fire, as no cooking is done on the first day of Baisakh.

A significant cultural aspect of Jurshital is the performance of the folk drama ‘Salhesh’, which is especially popular among the Dushadh community. Salhesh, a revered figure in Madheshi folklore, is worshipped as a domestic deity by the Dushadh people, though members of other castes also participate in the festivities. The worship of Salhesh takes place in open spaces, usually under a ‘pipal’ tree on the outskirts of villages. The ritual involves offerings of rice, incense sticks, and sandalwood, among other sacred items.

A priest, embodying Salhesh, performs a trance-like ritual, chanting mantras and engaging in dramatic acts such as walking on the edge of a sword, which devotees believe is a manifestation of divine possession. He then showers flowers and rice upon the audience as a blessing before returning to normalcy.

In the past, the Dushadh community was considered a lower caste in the hierarchical caste system of Madhesh. However, in the present era of democracy and equality, caste-based discrimination has diminished, and the Dushadhs are now regarded as equal members of society. They actively participate in social activities without any distinctions.

Fagu, also known as Holi or Faguwa, is one of the most joyous and vibrant festivals celebrated in the Tarai Madhes region of Nepal. This festival, often referred to as the “festival of flying colors,” is a celebration of romance, unity, and the playful splashing of red powder and vibrant hues. While Holi is celebrated across Nepal and India, the traditions and customs in Tarai Madhes hold a unique charm and significance.

The festivities begin with the erection of the Chir (a ceremonial totem pole) in Kathmandu Durbar Square, a UNESCO World Heritage Site. This marks the official start of the celebrations. Revelers splash water and throw colored powders—yellow, blue, and red—on each other, creating a kaleidoscope of joy. Friends, relatives, and even unsuspecting passersby, including foreign visitors, are not spared from the colorful onslaught. The festival spans a week, but the most exuberant moments occur when people play with Abir (colored powders) and water mixed with vibrant dyes.

The Chir, a three-tiered structure, holds deep cultural and mythological significance. It is raised on the 8th day of the waxing moon near the Kumari Temple in Basantpur and remains standing until the final day of the festival. The Chir symbolizes the Kadam tree from Hindu mythology, where Lord Krishna is said to have hung the clothes of the Gopinis (milkmaids) while they bathed in the Yamuna River. According to legend, the Gopinis were startled by Krishna’s flute and, in their embarrassment, prayed to the sun god while submerged in water. The pieces of cloth on the Chir represent the garments of the Gopinis, adding a layer of spiritual meaning to the festivities.

The great poet of Mithila Vidyapati has described in one of his poems:

“Let us go and greet the Spring,

Where Ketaki and Kund bloom, laughing.

The moon shines clear, a silver glow,

While black bees hum, their whispers low.

The night is soft, a dim embrace,

Yet my beloved turns an angry face.

Kamadeva, the god of love, takes his stand,

Locked in battle, bow in hand.

Radha and Krishna, in playful delight,

Plan to escape to the forest at night.

Beneath the trees, where shadows play,

They’ll find their joy and steal away.”

In Tarai Madhes, Fagu is celebrated a day after the full moon night of the month of Falgun. On the full moon night, communities gather to burn heaps of garbage, symbolizing the cleansing of old energies. The following day, the air fills with the melodies of traditional Fagua folk songs as people roam their villages, exchanging colors, red powder, and small gifts like betel nuts, coconuts, cardamom, cloves, and raisins. The festival is a time for feasting, merriment, and strengthening social bonds.

Fagu is deeply intertwined with themes of love, fertility, and renewal. The full moon night is believed to enhance vitality and vigor, awakening romantic and amorous feelings among people of all ages. The festival is particularly significant for newly engaged and married couples, as it symbolizes the blossoming of love and passion. Non-vegetarian meals, including fish, meat, and eggs, are consumed to boost stamina, while vegetarian delicacies like sweets and fruits are also enjoyed. Home-brewed beer adds to the festive cheer.

The festival transcends social boundaries, bringing together people of all castes, genders, and backgrounds. It is a time to let go of past grievances and embrace love, affection, and unity. The throwing of red powder (kumkum or sindur) symbolizes equality and the breaking down of societal barriers.

Fagu also has deep mythological roots. It is associated with the divine love stories of Radha and Krishna, Rama and Sita, and Shiva and Parvati. The festival’s connection to fertility rites is evident in the playful and sometimes risqué folk songs and chants. According to Sanskrit scholars, the festival’s exuberant shouting and revelry may have origins in ancient fertility rituals, symbolizing the celebration of life and creation.

The festival also marks the arrival of spring, known as Basantotsav. As the poet P.B. Shelley famously wrote, "If winter comes, can spring be far behind?" Fagu embodies this spirit of renewal and hope. The lighting of bonfires during the festival symbolizes the triumph of good over evil and the ushering in of a new season.

One of the most enchanting aspects of Fagu is its music. The Holi or Fagua folk songs, steeped in mythological references, are melodious and deeply evocative. A popular folk song recounts the story of Lord Krishna’s flute, which charmed the world and connected the three realms:

"On the day Krishna played the flute,

The three worlds were connected.

What was the flute made of?

And how was it tied?

On the day Krishna charmed the world,

With bones and flesh, the flute was made,

With love, it was tied."

Fagu is not just a festival; it is a celebration of life, love, and cultural heritage. It is a time when the people of Tarai Madhes come together to rejoice, forgive, and renew their bonds. The festival’s vibrant colors, melodious songs, and rich traditions make it a truly unforgettable experience, shared not only by the people of Nepal but also by their neighbors in India, reflecting a shared cultural legacy.

Mithila is a land steeped in mysticism and mythology. Yajnavalkya, the great sage, Maitrei and Gargi, famous women philosophers were born in Mithila. Shaivism and Vaishnavism are two prominent religions of this mysterious land. Though Lord Buddha the Light of Asia was born in Lumbini, Buddhism is not prevalent in Mithila. It is a matter of wonder and a subject of research. 

Shaivism is the oldest religious cult prevalent in Mithila and it has a deep impact on the life and culture of the people of this land. There is a Shiva temple in each and every village of Mithila. It is believed that if Shiva is invoked sincerely, he is pleased immediately and fulfills the desires and ambitions of his devotees in no time. So Shaivism is very popular and still predominantly prevalent in Mithila.

Nepal is known as a holy land of Shiva because of the world famous temple of Lord Pashupati from the Vedic period. This truth has also been proved that Shiva is a Vedic God. He is also believed to be a God of creation, sustenance, decadence and destruction. It is believed that there is a strong philosophical background of Shaivism in Mithila from time immemorial. Thus shaivism has a distinct and deep influence on the daily life of the Hindu community in Mithila. The people of Mithila worship Lord Shiva Maheshwar (the great Lord of all gods) on the auspicious occasion of Shivaratri that is thirteenth day of dark, fortnight of phalguna (February/March). Kalhan in his Rajatarangani states that on this auspicious occasion, the king also observed it with great respect and reverence. The court artists performed several programs of dancing and singing. Poetic gatherings were also organized. The poets were praised and rewarded for their works. Feasts were served to the invited guests on this holy occasion.

Alberuni has stated that “on the following nights…. they worship Mahadev during the whole night they remain awake, and do  not lie down to sleep and offer to him perfumes and flowers.” On Shivaratri, people of all classes go to nearby temples to worship the ‘lingam’, the aniconic representation of Shiva. Lingam is believed to have five faces. Four faces are carved in four directions and the fifth face faces upward. There are eight forms of Lord Shiva: the eight forms constitute the five gross material elements: the sharra, the sun and the moon. Their descriptions are as follows:

• Sharra: This form of lord shiva consists of the earth holding the mobile and immobile beings.
• Bhara: This form of the supreme soul consists of water that encircles the entire world.
• Ugra: This form of the Lord Shiva is the wind that holds the outer and inner universe and throbs by itself.
• Bheema: This form consists of the firmament (Ether) that pervades everything and affords space to all.
• Pashupati: This form of lord shiva is the support of the individual soul which delivers them from bondage.
• Ishana: This form of Lord Shiva is the sun that moves about in the heaven brightening the entire universe according to the Rupamandana, should have the colour as pure as that of the crystal, his head should be adorned with a Jatamukuta ornamented with the crescent moon and his hands should have the Akshamala, Trishula, Kapola and Aabhaya. The Lord of the north-east region of the universe is called Ishana. The deity Ishana representing the Karmasada has a perfectly white body representing the flower of the Kunda (a kind of jasmine) or the full moon, having five heads adorned with Jatamukutas; bearing on each face three eyes, ten arms and two legs. He is standing on a Padmasana and keeps in his right hands the Sula, Parsu, Khadga, Vajra and Abhaya and in the left ones the Nagapasa, ankusa ghanta, and agni. He is beautifully adorned with all ornaments,draped in fine clothes and is with a smiling countenance full of peacefulness.
• Mahadeva: This form of Lord Shiva is the moon of nectarine rays that strengthens and flattens the universe.
• Rudra: This form of Lord  Shiva dwells in every creature as his soul. The whole universe is pervaded by this form of Rudra.

The twelve Jyotirlingas

According to the Shiva Purana, while the entire universe is considered a manifestation of Lord Shiva’s Jyotirlinga, twelve Jyotirlingas on Earth hold special significance. Consuming and distributing the sacred food offerings (prasadam) from these Jyotirlingas is believed to instantly cleanse sins. The Somanatha Jyotirlinga is located in Veraval, Gujarat, about 54 km from Junagarh, with Rajkot as the nearest airport. The Mahakaleshwara Jyotirlinga is in Ujjain, Madhya Pradesh, with Indore as the closest airport. The Kedarnatha Jyotirlinga is situated in Rudra Prayag, Uttarakhand, with Delhi being the nearest airport. The Bhim Shankara Jyotirlinga, found in Dakini, Maharashtra, is 160 km from Pune, which also has the nearest airport. The Vishweshwora Jyotirlinga is in Kashi (Varanasi), Uttar Pradesh, with Varanasi Airport nearby. The Rameshwaram Jyotirlinga is located in Setubandha (Rameshwaram), Tamil Nadu. The Girishneshwara Jyotirlinga is in Berul (Shivalaya), Maharashtra, about 27 km from Aurangabad, which has the closest airport. The Nageshwara Jyotirlinga is in Darukavana, Maharashtra, about 210 km from Aurangabad, where the nearest airport is located. The Triyambakeshwara Jyotirlinga is in Brahmagiri, Maharashtra, 39 km from Nasik, with Mumbai as the nearest airport. The Vaidyanatha Jyotirlinga is in Parli, Maharashtra, about 230 km from Aurangabad, which serves as the nearest airport. The Omkareshwara Jyotirlinga is located on the banks of the Narmada River in Madhya Pradesh, 80 km from Indore, where the nearest airport is situated. The Mallikarjuna Jyotirlinga is in Srishaila, Andhra Pradesh, about 250 km from Hyderabad, which has the closest airport. Additionally, the people of Mauritius consider Maurisheshwar Jyotirlinga as the thirteenth Shivalinga.

It has been stated before that shiva is a very complex and complicated God. I would like to quote here:

“Shiva is probably the most complicated of Hindu deities indeed even Hindus themselves recognize this by putting this shrine in the temple separate from those of other deities.” (Jeaneane Fowler: Hinduism P33)

According to the ancient scripture, Shiva manifests himself in the form of a huge flaming linga (Jyotirlinga) on the auspicious occasion of Shivaratri to bestow his gracious mercy on His devotees. They worship Him and keep vigil the whole night at least with one leaf of the Bilwa tree. They also fast on the auspicious occasion of Shivaratri.

According to the Isana Samhita, Lord Shiva manifested himself in the form of a huge Jyotirlinga, to determine who is the greatest divinity among trinity (Shiva, Vishnu and Brahma). To settle the quarrel and determine the divinity, the three gods agreed that he should be considered the greatest, who should first find out the end of the blazing clum of fire, which was burning before them. According to this agreement, Vishnu undertook to reach the base and Brahma the top, but they never succeeded in this search in a thousand years of time. They returned being disappointed and desperate. They confessed the superior supernatural power of Lord Shiva. This proves the supremacy of Shiva over Vishnu and Brahma.

All people irrespective of caste and creed are permitted to worship Shiva on this holy occasion. The poor people are satisfied by pouring pure water with Bilwa trees’ leaves and fresh flowers. Rich people offer sweets and several kinds of gifts to Lord Shiva on this auspicious occasion. Lord Shiva especially prefers the offering of Bilwa leaves, (Bel or Bengal quince (Shriphal) meaning the fruit of plenty) Dhatura (thorn apple), Akchhat (rice, and sandal paste.)

Devotees of Shiva throng to the Shiva temples to offer prayers on this pious occasion. They sing devotional songs which are called Nachari. They sing and dance on this delightful day because Lord Shiva also dances the heavenly dance of Creation, Preservation and Destruction. Music itself has originated from the damaru (a musical instrument) of Lord Shiva. So the devotees of Lord Shiva spend the whole night reading the Shiva Purana and chanting Shiva bhajans.

The Mahashivaratri festival is related to this folk story too. A hunter whose name was Suswar was compelled to spend the night on the branches of Bilwa tree on the auspicious occasion of Mahashivaratri without food. So he wept bitterly on that night. His tears rolled down on the image of Lord Shiva with withered leaves of the Bilwa tree. In the Hindu mythology Shiva is described as intimately associated with this tree. The devotees of Shiva tie to their pig- tails (Shikha) the bel leaves because they are considered sacred and pious and pleasing to their favourite Lord). If he is invoked with these offerings, he is supposed   to be pleased soon. He assumed that this true devotee was worshipping him sincerely. Consequently He blessed the hungry hunter. It is believed that he was born in a royal family in the pre-birth. So Maha Shivaratri is considered the festival of rags to riches in the true sense of the term because Lord Shiva is the all seeing guardian- deity of Hinduism. He does not distinguish between pauper and prince devotees. He is a truly liberal, generous and democratic God of this universe. So he is very popular in this atomic age too. He is also easily pleased and satisfied immediately. So his devotees worship him wholeheartedly on this auspicious occasion.

The world famous temple of Pashupatinath (Lord of animal) is situated on the bank of Bagmati river Kathmandu. He has five faces representing five elements such as earth, water, fire, air and ether. Each face has three eyes which also represent birth, life and death. So he is called  Panchayan. He is also called Ardha-nareeswara (half male and half female) human form.

The river Ganga is supposed to have originated from his matted hair. He has a crescent moon on his head. He has a garland of serpents around his neck. He wears a tigerskin (Bagh chhala) around his waist. He rubs ashes on his body. He has a trident in his hand. He conveys the message of satyam (truth), Shivam (good), and Sundaram (beauty) to the Hindu world. So he is worshipped in the whole Hindu world with reverence and respect. Lord Shiva is the perennial source of energy and creativity for all living and non living beings. The famous temple of Shiva is located at Jaleshwar which is called Jaleshwarnath temple where most of the Maithil people go to worship him on the auspicious occasion of Mahashivaratri. Many people go to pour water from the river Ganga in earthen pots on this occasion to Vaidyanath Dham in Bihar which is also called Babadham. They pay homage to Vaidyanath who is also Shiva.

Vidyapati, a great poet of Mithila, was a true devotee of Lord Shiva. He wrote many devotional songs dedicated to him which are called Nachari  and Maheshbanis. They are Sung on the auspicious occasion of Shivaratri festival by his devotees.

Mahamrityunjaya Mantra of Lord Shiva has immense supernatural power which can provide salvation. Once sage Dadhichi, the excellent devotee of Lord Shiva had some differences with king kshura who in a fit of fury, severed his limbs with his thunderbolt. There upon sage Dadhichi remembered Shankacharya who rejoined his severed limbs and rendered him hale and hearty once again. He also gave him the excellent Mahamrityunjaya Mantra. Sage Dadhichi by chanting constantly  of this Mantra propitiated Lord Shiva who blessed him with such a strong and sturdy body as the thunderbolt itself. The sacred Mantra runs as follows: “Om Tryambakam Yayamahe, Sugandhim Pustivardhakam, Urvarukamia Bandhanam rity or mukshiya Mamritat.” It means: “I bow down to that three eyed Lord Shiva who is full of sweet fragrance and who nourishes human beings. May he provide me with a sweet fragrance and which nourishes human beings. May he free me from the bondage of this mundane existence and death just as a ripe Kakri (cucumber) is separated from the creeper. May he fix in immortality. This mantra of great efficacy guards and protects a person from premature and untimely death accidents, poisons, incurable diseases and bestows immortality by his blessings.”

“The very word ‘Shiva’ literally means auspicious or beneficial or conducive to happiness’ the various forms of Lord Shiva as the bestower of Eternal bliss, knowledge and immortality have been described in scriptures or an auspicious one. His name shiva means Bright one, Happy one. Shiva the auspicious, is known by many names (Mahadeva, Bhava, Nataraja, Mahayogi, Bhairava, Pashupati, Vishwanath, to name only a few.” (Elements of Hindu Iconography: P377)

“The festival of Makar Sankranti traditionally coincides with the beginning of the Sun’s northward journey (the Uttarayan) when it enters the sign of Makar (the Capricorn). It falls on the 14th of January every year according to the Solar Calendar. This day has a very special significance because the day and night on Makar Sankranti are exactly of equal hours. It is celebrated as a festival right from the times of the Aryans and is looked upon as the most auspicious day by the Hindus,” according to PK Das’ ‘Hindu Feasts And Festivals: Makar Sankranti’.

Madhes is a legendary land of fairs and festivals. There is a festival which falls every month of the year. Most of these festivals are related to gods and goddesses. Makar Sankranti is a unique festival because it is not associated with any god and goddess. It is not even related to a local deity. But it is somewhat related to the sun god visible all over the world. It is celebrated on the first day of the month of Magh according to the Bikram era. It falls in the winter season in which the earth reaches the southernmost point and starts returning to the northern hemisphere. The people of Madhes celebrate it for bright, beautiful and sunny days because there is a shivering cold at that time of the year. So they worship the sun god after immersing themselves in a water body. People dare to dive into the cold water of any river and pond and pool for a ceremonial bath. Bath is compulsory on this occasion for purification of body and mind. So they go to the confluence of rivers for a sacred bath. 

Either they go to the Kankai river which is popularly known as Maibeni Mela or Narayanghat where three rivers like Narayani, Seti and Gandaki meet. There they take a customary dip in the river to purify themselves. 

Days get warmer and warmer from this auspicious day. A great poet of English literature, PB Shelly is quite right when he says, “If winter comes, can spring be far behind?” So, people are hopeful of winter coming to an end soon. Lazy people also feel enthusiastic, spirited and strong on this day. The message of the Makar Sankranti is to enliven and encourage the lazy and lethargic souls. After taking a bath in a nearby river, they pray to the sun for better health and after coming back home they also seek blessings from elders.

After taking bath early in the morning, people of Mithila eat Khichadi (a mixture of rice and lentils) with pure ghee which is available in their sweet homes. They eat delicious dishes to beat this shivering cold of Magh.

This festival is called ‘Tila Sankranti’ in the Maithili speaking area and Khichadi in the Bhojpuri-speaking area. This festival represents Makar (Capricorn), the tenth sign of the Zodiac. Thus according to the Hindu scriptures the first day of Magh is observed as Makar Sankranti. The month of Magh is considered as a merrymaking month. The month of Poush is considered inauspicious whereas Magh is considered auspicious. Some religious people start bathing the whole month early in the morning, though it is very cold in the morning hours. Even idle and sick people take bath on the auspicious occasion of Maghe Sankranti. It has been articulated astrologically and astronomically that on this day the sun, the only visible god, is the farthest from the earth. So days become longer, better and warmer from this day. The people of Madhes celebrate Maghe Sankranti on the first day of Magh. It is worthy to note that Madhesi culture is very rich and renowned. 

Various fairs and festivals are the demonstrators of this richness, bathing rituals and processions take place at various religious places such as Janakpurdham, Dhanushadham and Jaleshwardham. Women throng these pious places and worship Lord Mahadev, the god of gods. They prefer to take bath on the confluence (Sangam) of at least two or more rivers because it is considered sacred. The people of Madhes rush toward rivers and rivulets and take a ceremonial bath to purify themselves. After taking the holy dips, they prepare several sweet recipes such as Mudhi and Lai made of molasses.They also prepare Khichadi—a mixture of rice, vegetables and lentils. So this festival is also called Khichadi in some places of Tarai-Madhes.

Tharu people also celebrate Maghi for three consecutive days. They eat special and decent dishes on this occasion. They sacrifice he-goats, chickens, pigeons and buffaloes. They celebrate their greatest festival by singing and dancing. They call it Maghi in their native language, celebrating it as the beginning of their new fiscal year whereas the people of Mithila celebrate it for one day only. 

Non-vegetarian people eat several kinds of dishes of meat according to their choices. Vegetarian people eat sweet potatoes and eat ladoos made by mixing Tila and molasses. This is a very healthy food item as it produces energy and heat in the human body. They also eat Dahi (curd) and Chiuda (beaten rice) and sugar. Khichadi with ghee is also considered a very nutritious food. People prefer to eat this type of food on this occasion. They also invite their married daughters and their husbands’ in-laws and other close relatives for family feasts. 

This festival gives enough opportunity for socialization. It is a perfectly cultural and social festival of the Hindu people who constitute a majority in Madhes. This is a great occasion for the grand gathering of this community for exchanging greetings and well-wishes. The main motto of this festival is peace, fraternity and unity in the society. This festival helps in creating an amicable atmosphere of social harmonization.

Makar Sankranti is an important festival that falls in mid-January. It is preceded by Lohri (bonfire) into which is thrown harvest produce like sugarcane stalks, parched rice and sesame seeds. On the day of Sankranti, Khichadi (mishmash of rice, lentils and vegetables) is prepared and given in charity. Sankranti, signifying light, also gives the message of intellectual illumination. It is the Viveka (discriminatory wisdom) to choose between the right and wrong that is believed to lead man on the path of happiness, Utpal K Banarjee fittingly states in his book titled ‘Hindu Joy of Life’.

The ancient city of Janakpur celebrated the bow-breaking ceremony as part of Vivah Panchami celebrations marking the marriage of Lord Ram with Goddess Sita (Janaki) on Dec 6 in the presence of a large number of devotees and pilgrims. 

On the day of Vivah Panchami, a special marriage procession from Ayodhya, the birthplace of Ram, also arrives in Janakpur, the birthplace of Janaki. 

On this occasion, let’s revisit the glorious past of this ancient city.

In ancient times (Treta Yug), an arena was prepared for the contest of the bow at Rangbhoomi, located close to the famous Janaki temple. The great poet Tulsi Das mentions about the grand preparations in his Ramayan thus: “The two brothers reached the eastern quarters of the city where the ground had been prepared for the contest. In the midst of a fair and spacious paved area, a spotless altar had been richly adorned.”

He goes further: “On all four sides of this altar were erected broad platforms of gold to be occupied by the princes. Not far behind and surrounding them on all sides shone another circular tiers of platforms of somewhat greater height and beautiful in every way, and where the citizens might come and sit. Close to these were constructed spacious and beautiful pavilions, glistening white and painted in different colours.”

Sita, a paragon of beauty, was wandering with her girl companions hither and thither in the royal garden. She used to pluck fresh flowers to worship Girija, her favourite goddess. After bathing in the lovely pond, she went with her friends to worship at Girija’s temple. She offered worship with deep devotion and asked the goddess for a handsome husband worthy of her. By chance, Ram and Lakshman were also visiting the royal garden as it was so famous and worth visiting. Ram saw beautiful Sita with his own eyes. He was overwhelmed to see her unparalleled beauty. Tulasi Das has described this marvelous meeting of the two in the following lines: “Hearing the tinkling of her bangles, the small bells on her girdle and the anklets, Ram thought within himself and then said to Lakshman, ‘sounds as though Cupid has sounded his kettle drum, ambitious to conquer the universe’.”

After getting a glimpse of Sita’s beauty, Ram drew the conclusion that she is no other than Janaki, the daughter of Janak for whom the contest of the bow was going to be held. The most famous Rajarshi was Shirdhwaj Janak, the father of Sita, also known by her family name (Janaki).

Tulasi Das has aptly and rightly described this fact in the following lovely lines: “Dear brother, this is no other than Janaki, to win whom the contest of the bow is being held. She has been escorted by her girl companions to worship Gauri and is moving about in the garden diffusing light all about her.”

There’s an interesting story about the birth of Sita. It goes something like this:   

A dreadful drought had occurred in the Kingdom of Mithila. King Janak himself tilled and sanctified the land in the capital of Mithila, Janakpur. He discovered a beautiful baby girl lying in a furrow. He brought the baby to his palace where she grew up into a beautiful princess. When she reached marriageable age, Janak held a great bow-breaking ceremony where one wishing to get married to his daughter had to bend the divine bow of Lord Shiv, gifted to him by the Lord himself. Princes and kings came to face the challenge from far and wide, but nobody could bend the tremendous and powerful bow. 

It so happened that Ram and his brother were in the vicinity of Janakpur with his Guru (teacher) Vishwamitra. They were also invited to that historical and celestial contest. With his Guru’s permission, Ram broke the bow into three pieces, with its breaking sounding like an earthquake. After breaking the bow, the lovely Sita put the wedding garland on Ram’s neck causing a universal applause with gods and goddesses showering flowers on them from high heavens. All men and women thronged to see this sacred and celestial meeting of eternal lovers.

A grand marriage ceremony was held where Ram’s three brothers Lakshman, Bharat and Shatrughan were also married to Urmila, Mandavi and Shrutikriti, respectively. 

Since then, this festival of celestial marriage has been performed throughout Nepal and India but the focal point of attraction is Janakpur, the birthplace of Janaki. Janakpur is considered a sacred place and thousands of devotees from different parts of Nepal and India visit the city every year to offer worship at the famous temples of Ram and Sita. Enthusiastically, they watch the ceremonial marriage procession, which starts from Ram Mandir, passes through Janaki Mandir and ends at the Rangbhoomi where a celestial bow-breaking ceremony is held. 

The idols of Ram and Sita are taken in procession to the site of revelry. To commemorate their marriage ceremony, the garlands of Ram and Sita are exchanged in the midst of thousands of people, who flock to watch the grand ceremony. 

Devotees perform Maithili marriage rituals in the Janaki temple at night with enthusiastic participation of sages, Brahmins and priests amid marriage folk songs and Mantra recitals in an ambience filled with music.

A big fair is also held at the Janaki temple with the participation of hundreds of hermits, sages and devotees. Local artists perform Ramlila at night and, at times, theater companies also come to entertain the crowd. Different stalls put in place for the occasion provide a wide range of goods, including essentials. As the Janaki temple is the center of attraction with all roads leading toward it, the temple is decorated to attract the visitors, including dignitaries, with the involvement of local authorities. The registered saints and sages get free food and lodging facilities during the fair. On the occasion, Janakpur becomes a meeting place for families and friends also, with every family catering to a good number of guests. 

The next day, the idol of Sita is carried to the Ram Mandir (temple) amidst great fanfare in a farewell ceremony marked by offering of precious things as dowry. The idols of Ram and Sita, dressed as the bridegroom and the bride, are placed in a beautifully-decorated palanquin on the back of a caparisoned elephant.

In the Mithila region, four men carry this palanquin amid a musical marriage procession marked by the presence of a significant number of men and women, and this procession is called Barat in Maithili. These days, apart from men and women, the procession also features elephants, horses and bullock carts. 

After several days of celebration, the festival of faith ends. 

Every year, this festival offers us glimpses of the Ramayan period. We remember Ram, an incarnation of the almighty and Sita, an incarnation of the goddess whom we worship with reverence. 

Beautiful, pious, honest, courteous and loyal to her husband Ram, Sita symbolizes ideal womanhood.  According to Devi Upanishad “Sita, the consort of Ram, is nature. She is the primordial power, the embodiment of divine splendor. She is the heaven attained through penance, the nature of the universe conscious and unconscious, that which knows and that which does not  know.”

Maithil women still have an undying faith in her chastity and follow her footsteps in every walk of life to make their lives ideal and happy. She is also the embodiment of duty. The Maithil women regard her as a dutiful daughter of Mithila because she sacrificed her whole life in the service of her husband, honestly and respectfully.  

Every year, Janakpur celebrates this festival with great fanfare. Time has come to develop this ancient city while retaining its past glory. 

The historic city of Janakpur, the capital of the ancient Mithila kingdom and the birthplace of Goddess Sita, the consort of Lord Ram, has been suffering utter neglect for ages, with the government of Nepal not bothering to put it on its tourism map. 

Though the Ministry of Tourism, Culture and Civil Aviation, the Department of Tourism and Nepal Tourism Board have not bothered to bring to light the glory of this ancient city and draw in tourists, better days seem to be ahead for the city and adjacent areas as they constitute a central part of the Ramayan Circuit, one of the most ambitious projects of the Narendra Modi-led Indian government that aims to connect all sacred places associated with the life and times of Ram and Sita. 

To further propagate the glory of Nepal, the government should step up efforts for inclusion of the Janaki Temple in the UNESCO World Heritage Sites’ list.

During his third visit to Nepal as the PM of India in May 2018, Narendra Modi had visited Janakpur as well, signifying the importance of the ancient city. 

Welcoming Modi, our Prime Minister KP Sharma Oli had expressed hope that the Ramayan Circuit will further improve the ties between the people of Nepal and India. Modi, on his part, had aptly said that he was in Janakpurdham not as the PM of India but as a prime pilgrim. These words from the two PMs still resonate in the city and beyond. 

On the occasion, the two sides had launched a Janakpur-Ayodhya direct bus service and India had  announced an assistance package of Rs 1bn for the development of Janakpurdham.

At that time, PM Oli had said he and Modiji had “agreed to address outstanding issues between the two countries in a timebound manner” while PM Modi had expressed satisfaction over the opportunity to visit important pilgrimage sites and promised to visit Lumbini, the birthplace of Gautam Buddha, whenever an opportunity arises.

Peace, harmony and spirituality are some of the common features of our two countries. It is no wonder that people from all over the world come as pilgrims and tourists to Nepal and India in search of peace, bliss and spirituality. Increasing inflow of people to Lumbini, Janakpurdham, Pashupatinath, Varanasi, Kedarnath, Bodhgaya and numerous other destinations in the mountains and in the plains is a living proof of this desire.

Back to Janakpur. The Department of Archaeology came up with a good news recently. It stated that it had found remnants of ancient civilizations dating back to the third or the second century BC on the banks of the Jamuni river in Dhanusha district. In a press release, the department pointed out that eight different civilizations may have existed in and around the site in different time periods, noting that cultural layers in the area date back to the Kusand period of the first to second century AD to the Maurya period ( 2-3 century BC). The department has reportedly unearthed ancient brick walls, foundations of human settlements, manmade pits, piles of mud utensils and post holes used for erecting wooden pillars. 

These remains have unique imprints of the Maurya civilization, comparatively advanced relics of the Kusand period like iron slag, terracotta beads, terracotta bangles and bricks as well as unique utensil pieces called Northern Black Polished Ware, which date back to 600-300 BC. During the excavation that involved digging a (4 * 3) trench, the department also collected samples of charcoal, bone and mud for further research in the area.

Unearthing of these remains once again shows how important Janakpurdham and surrounding areas are and how important it is for the government to preserve the priceless heritages of Nepal. Janakpur can also play a key role in boosting relations between Nepal and India, apart from bringing tourists and pilgrims from the world over to Nepal.

The time has come for our government authorities to wake up from deep slumber and work toward the preservation of priceless heritages of Janakpurdham and surrounding areas. I call upon the government to take a step in that direction by declaring 2025 as the ‘Visit Janakpur’ year.