In the quiet lanes of Baksha village in Janai, Hooghly district, the sprawling Baksha Chaudhuri Bari stands as a custodian of history, faith, and community. For more than 350 years, its Durga Puja has drawn villagers, relatives, well-wishers, and tourists together in a celebration that is deeply devotional and profoundly inclusive.
Ancestral legacy of the house
It was Radha Ram Chaudhuri who first established the family residence in Baksha gram towards the end of the 17th century. Earlier, he had served as a dewan (minister) under the Bardhaman Raja.
A popular anecdote recalls that when the Raja needed help reading a letter written in Arabic, Radha Ram’s skills came to his aid. In appreciation, the Raja granted him nishkar zameen (tax-free land). Radha Ram initially moved to Haripal and later settled in Baksha after amassing wealth, establishing his zamindari (estate) over 75 acres of land.
Senior family member Asit Baran Chaudhuri emphasises, “Though we lived under a zamindari system, we never had praja (subjects). Instead, our focus was and always is on community, where people of all castes, classes and religion come together, and the entire village celebrates as one extended family.”
The family’s history is marked by figures of valour and resistance. Rup Narayan Chaudhuri, remembered for his strength and loyalty, stood by Maharaj Nandakumar in his struggle against Warren Hastings. His defiance was so significant that Hastings reportedly referred to Rup Narayan as his “worst enemy”. It was Rup Narayan who firmly rooted the tradition of Durga Puja in Baksha Bari’s Durga Dalaan, notes Shankar Prasad Chaudhuri in the seminal work Hooghly Jelar Baksha Chouduri Barir Itihash Onushondhan.
The family’s legacy extended beyond zamindari and faith. Among its illustrious descendants was Sachin Chaudhuri, India’s first Bengali finance minister from 1965 to 1967, under Lal Bahadur Shastri and Indira Gandhi. His legacy remains a matter of immense pride for both the family and the nation.
The family’s ancestors were Vishnu upashak (devotees of Lord Vishnu), and this heritage continues to shape the rituals. The family’s Kuldev is Radha-Gobindo and regular pujas are performed at Gobindo bari through the year.
Chaudhuri Bari’s Durga is portrayed in the Abhaya murti (form of fearlessness), with only four hands, unlike the ten-armed iconography common elsewhere. The chalchitra of the goddess is adorned with Radha and Govinda on both sides, underscoring how this Puja brings together both Shakta (worship of Goddess Shakti) and Vaishnavite (worship of Lord Vishnu) traditions.
The making of the idol
The rituals begin the day after Janmashtami (birthday of Lord Krishna) with the Kathamo Pujo (worship of the bamboo frame). Straw and clay are layered over the khori kathamo (bamboo framework covered with straw), gradually shaping the figure of the goddess. Once the clay dries, artisans carve intricate details onto the idol.
On Mahalaya, the elders of the family perform Tarpan (ritual offerings to ancestors) at the family’s pond. The colouring process takes place in two stages. First, the idol is coated with khori, and then it is painted with vibrant colours. For generations, this work has been entrusted to the Pal family of artisans. Today, Probir Pal carries on the tradition after his father.
“We have been colouring Ma Durga for more than 30 years, keeping alive the same style and devotion that my father practiced,” shares Probir Pal, underlining the continuity of craft through generations.
Unique Puja rituals
On Panchami, the ritual of Saaj porano (decorating the goddess) is performed, during which the idol is adorned with daaker saaj (traditional foil and mica decorations, once imported via post).
Unlike most families, the Chaudhuri Bari does not perform Devi Bodhon (invocation of the goddess) in the conventional manner. Instead, Aabahon (welcoming) and Adhibash (consecration of the idol) are carried out on Sashti. As Prodhan Purohit Pranab Kumar Bandhopadhyaya explains, “We believe Maa is always here, so we don’t perform Bodhon. On Shoshti, we perform Aabahon and Adhibash.”
The Nabapatrika (nine plants/leaves), which is created on Mahasashti and worshipped during the Puja in a ritual known as Billo Boron, is given a ceremonial bath on Mahasaptami as the Kola Bou (banana plant draped as Ganesha’s bride) in the birat pukur (large pond), before being placed (Nabapatrika Sthapan) in the devalaya where Durga is established.
Another distinctive custom is that every branch of the Chaudhuri family establishes their own idol of Maa Lakshmi, worshipped alongside Durga, highlighting the multiplicity of divine feminine forms.
Kalyani Pujo is a highlight of Ashtami. The rituals are timed precisely during Sondhikhon (the twilight junction between Ashtami and Navami), and must be completed within 48 minutes to mark the transition between tithis (lunar phases).
The evenings also carry the sound of community. On Ashtami, the family organises cultural programmes, where music and performances draw the whole village together in shared festivity.
Keeping pace with modern mediums, family member Amitava Chaudhuri has created a meticulous YouTube series documenting the Durga Puja traditions at Baksha Bari, allowing enthusiasts from around the world to witness its rituals and artistry online.
Earlier, the start of Navami rituals and bolidan (sacrifice) were announced with a gunshot. Today, the tradition continues with a sutli bomb (traditional firecracker). Though animal sacrifice was once part of the rituals, it has long been replaced with phol boli (offerings of fruits).
Asit Baron Chaudhuri reflects, “Vaishnavite rules do not allow animal sacrifice; hence, the ancestors decided to amalgamate both Vaishnav and Shakta traditions, ensuring that bolidan never takes place in front of the family’s presiding deities, Radha-Govinda. The idea of boli is purification, where the sins are washed away.”
“Over time, the newer generations adapted the ritual, replacing animal offerings with phol boli (fruit offerings), continuing the tradition in a way that respects both faiths.”
At Chaudhuri Bari, cooked bhog is never prepared. Instead, fruits, vegetables, atop chaal, and sweets are offered and later distributed to devotees and villagers, but never consumed by the family themselves.
The farewell: Dashami and beyond
On Bijoya Dashami, the family pays homage to Kulo Devi Maa Bhishalakshmi. Durga Maa is then immersed in the Saraswati River as per the centuries-old tradition. A dhaak troupe, associated with the Bari for three generations, sets the rhythm of farewell.
On Ekadashi, devotional offerings are sent to the Uttar Bahini Vishalakshmi Maa, the goddess originally is said to be established by Purandar Khan, husband of the Chaudhuri Bari’s earliest known ancestor, Bishnu Chaudhuri’s daughter, preserving the historic connection and continuity of worship across generations.
Continuing a vision
The Puja at Baksha Chaudhuri Bari has always been forward-looking. It embodies prakriti pujo (worship of nature), exemplified through the Nabapatrika Puja. In an era where distance and modern life often fragment family ties, Chaudhuri Bari members remain remarkably close-knit, and the younger generation feels connected to their heritage, expressing a strong desire to keep the tradition and family pride alive. The Puja is sustained by contributions from family members spread across the world. With plans for a trustee board in the future, the family aims to ensure that this unique legacy continues for generations to come.
In its clay idols, precise rituals, and community gatherings, the Baksha Chaudhuri Bari Durga Puja tells a story that is not just about the triumph of good over evil but also about the resilience of tradition, the inclusivity of devotion, and the enduring spirit of Bengal’s cultural heart.