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Dharmaraj Gajan is the traditional festival of Barddhaman, Bankura district villages
The traditional shrine of Dharmaraj at a Barddhaman, Bankura District's villages.

Dharmathakur (also called, Dharmaraj or simply Dharma) is a Hindu deity of death and justice, worshipped by villagers in the traditional Rarh region in the present day Indian state of West Bengal as one of their special village gods (gram devata). He is represented by a shapeless stone daubed with vermillion and is normally placed under a tree or placed in the open, but sometimes enshrined in a temple. The worship takes place in the months of Baisakh, Jaistha and Asarh on the day of full moon and sometimes on the last day of Bhadro.[1] Dharmaraj is worshipped mainly by the Bauri, Bagdi, Hari, Dom etc. castes.[2]

A temple of Dharma stood in the Jaun Bazaar street in Calcutta during the late 19th century.[3]

Origins

[edit]

Dharmaraj has been linked with many gods such as Sun-god Surya, Varuna, Vishnu, Yama, Shiva and even with Buddhism. Fundamentally, it all started with the magical beliefs related to harvesting in the primitive days and thereafter layers of Aryan Hindu and Buddhist beliefs transformed it in many ways at different places and has now become too complex to trace its roots properly.[4]

Suniti Kumar Chatterji says, "Dharma who is however described as the supreme deity, creator and ordainer of the Universe, superior even to Brahma, Vishnu and Shiva and at times identified with them, and he has nothing of the abstractions of Buddhist Dharma about him." He has further opined that the songs and dances linked with Gajan of Dharma is clearly non-Aryan in origin. It could be Dravidian or Tibeto-Chinese.[4]

Sukumar Sen says that Dharmaraj has come down with the so-called lower category of common people. They formed a majority at one point of time and had no right to Brahminical learning. Brahmins who started migrating to Bengal in large numbers during the Gupta period were mostly not the original inhabitants of Bengal and as such had no links with Dharmaraj. He was not a personal-god but a community-god worshipped by many at a time. He was worshipped by large groups of non-Brahmins such as Haris, Doms and Chandalas.[4]

It is notable that very important patrons of his worship were Brahmins and that they wrote most of the scriptures dedicated to his worship. These include works Dharma Purana of Mayura Bhatt,[5] the Dharmamangal of Mayura Bhatta, Ramdas Adak, Manik Ganguly, Ghanarama, Sahadeva Chakravarty,[6] and Ruparama.[7] Perhaps the Ghanarama festival,[8] in which modern-day adherents worship Dharmaraj is named after the Brahmin Ghanarama Chakravarti.

Frank Korom, a Professor of Religion and Anthropology at Boston University, wrote his PhD dissertation on Dharmaraj. He found that Dharmaraj is perceived and worshipped differently from district to district.[9]

Vahan

[edit]

Hindu gods and goddesses have vahans – an animal on which the deity rides. Horse is the vahan of Dharmaraj. However, in some cases the elephant is also used as a vahan. In the Rarh region where Dharmaraj is worshipped there is no end to the symbolic use of terracotta and wooden horses. Symbolic sacrifice of horses for fulfilment of wishes is common for many village gods and goddesses, but an assembly of terracotta horses of various shapes and sizes representing sacrifice on wish fulfilment is perhaps peculiar to Dharmaraj. It is a possibility that the horse symbolises links with the Sun-god.[10]

See also: Bankura horse

Gajan

[edit]

The festival associated with Dharmaraj is called Dharmer gajan or Dharma's gajan.[11] Shiva’s gajan and Dharmaraj's gajan are similar. The horse is essential in Dharmaraj's gajan but it is not so in Shiva’s gajan. The sannyasis (hermits) of gajan are called bhakta of bhaktia. They observe certain rituals which are similar to those observed on a person’s death. There is certain amount of confusion regarding the interpretation of the rituals as gajan is supposed to celebrate the marriage of Dharmaraj with Mukti.[12] The skull dance is part of Gajan. This is believed to be of non-Aryan origin.[13]

References

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Dharmathakur

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Dharmathakur, also known as Thakur or Dharmaraj, is a folk deity in primarily worshipped as a village god (gram devata) in the Rarh Plains of southwestern , , embodying principles of , , , , and the sun. Originating from pre-Hindu tribal traditions among communities like the Doms and Bauris, the deity represents a syncretic fusion of indigenous beliefs with influences from , , and later Brahmanical . The worship of Dharmathakur has roots in the early medieval period, particularly during the transition from the Buddhist Pala dynasty (8th–12th centuries CE) to the Brahmanical Sen dynasty (11th–13th centuries CE) in , filling a religious void left by the decline of and serving as a symbol of resistance against upper-caste dominance. It gained further prominence through Dharmamangal literature composed in the 16th and 17th centuries. Aniconic in form, often represented by amorphous stones or symbols like the (), the deity is venerated through annual festivals such as Gajan, a 12-day event featuring hook-swinging, processions, and animal sacrifices (traditionally goats or sheep, sometimes substituted with rice offerings). These rituals, observed around Buddha Purnima in the month of Baishakh, blend martial displays, communal feasting, and invocations for prosperity, health, and progeny, while also invoking protection against curses like illness or barrenness. Over time, Dharmathakur has been appropriated into mainstream , equated with deities such as (as Buroraj), , , , and even , reflecting the deity's amorphous and adaptable nature across sects. This is evident in associated Mangalkavya , including the Dharmamangal poems composed in the 16th and 17th centuries to glorify the deity, as well as texts like the Sunya Purana by Ramai , which narrate mythological origins and ethical tales. As of the , worship persists in about 78 documented sites across districts like , though it remains largely confined to lower-caste and rural communities, underscoring its role in preserving autochthonous cultural identities amid broader Hindu assimilation.

Names and Etymology

Alternative Names

Dharmathakur is primarily known by the names Dharmathakur, , , and simply , reflecting its role as a folk in rural . Regional variations appear across the of , where the deity is referred to as in certain villages, emphasizing its syncretic ties to figures like or . In , local forms include Dharmeshwar, adapted to specific temple traditions. Other localized names in Rarh locales, such as Gobindapur and Narayanpur, encompass Sital Narayan, highlighting the deity's amorphous and adaptable representations in agrarian communities. These names carry titles implying justice and death, such as "Lord of Dharma" or "King of Righteousness," derived from Dharmaraja, which underscores the deity's association with moral order and retribution. Historical texts from the 19th century, including ethnographic accounts of Bengal's folk religions, document evolutions in these names, with Thakur appearing prominently in discussions of non-Aryan tribal deities integrated into Hindu practices.

Linguistic and Conceptual Origins

The name Dharmathakur derives from the root , signifying righteousness, moral order, or , compounded with thakur, a Bengali word meaning , master, or , thus portraying the figure as the of ethical and cosmic . This linguistic fusion reflects a blend of classical Indo-Aryan with regional , elevating a local entity to a position of supreme authority over human conduct and natural balance. Conceptually, Dharmathakur embodies solar symbolism akin to the Vedic god , representing the sun as a source of cosmic order (), vitality, and fertility, which sustains agricultural cycles and life itself. In this framework, the deity's attributes—such as a vehicle—evoke the purifying radiance of the sun, drawing from indigenous perceptions of a "white sun" that ensures and renewal. These ties underscore Dharmathakur's role in upholding universal harmony, where mirrors the unerring enforcement of justice. Non-Aryan linguistic influences are evident in the deity's origins among the Kom community, a tribal group whose pre-Vedic traditions contributed to the name's formation, possibly through Austric (Munda) substrates that phonetically echo Sanskrit dharma without direct derivation. This substrate integration highlights how indigenous tribal lexicons shaped the deity's conceptual identity, infusing it with localized notions of communal equity and natural equity before broader Sanskritization. The core concepts of Dharmathakur evolved from primitive harvest deities tied to agrarian fertility and seasonal abundance to a more complex entity governing death, justice, and sustained agricultural welfare, reflecting adaptations in tribal worldview to encompass moral retribution alongside life's cycles. This progression illustrates a conceptual broadening, where initial fertility rites merged with judicial oversight, positioning the deity as a multifaceted arbiter of fate and bounty.

Historical Development

Pre-Hindu Tribal Roots

Dharmathakur, also known as Dharma Thakur, traces its origins to the indigenous tribal traditions among non-Aryan communities such as the Kom, Doms, and Bauris in the Rarh Plains of western , where it emerged as a central linked to agrarian life and harvest prosperity. This region, characterized by its and dry forests, fostered beliefs in Dharmathakur as a guardian of agricultural cycles, ensuring fertility of the land and protection from natural calamities that threatened rural livelihoods. Early worship practices reflected the community's dependence on farming, with rituals emphasizing communal harmony and bountiful yields, distinct from Vedic influences. Among lower castes such as the Bauri, Bagdi, and Dom, Dharmathakur was revered as a protector against untimely death, , and social misfortunes, serving as a communal that transcended individual concerns to safeguard the collective welfare of these subaltern groups. These communities, often marginalized in broader societal structures, maintained oral traditions portraying Dharmathakur as an impartial arbiter who intervened in disputes and warded off malevolent forces, reinforcing social cohesion in village settings. This role underscored the deity's roots in tribal , where access to worship was not restricted by hierarchical norms. Archaeological and oral traditions further hint at primitive forms of worship, such as aniconic stone representations placed under sacred trees, symbolizing the deity's immanent presence in nature. These stones, often naturally occurring or meteoritic, were venerated in open-air settings, embodying the tribe's reverence for elemental forces and ancestral spirits long before iconographic developments. Such practices, documented in ethnographic accounts, illustrate the deity's foundational role in tribal cosmology.

Syncretism and Integration into Hinduism

The worship of Dharmathakur emerged prominently during the 16th and 17th centuries amid the lingering influences of Buddhist decline from the Pala era and the rise of Brahmanical Hinduism under the Sen dynasty, filling a religious void and serving as a symbol of resistance against upper-caste dominance in Bengal. Dharmathakur's integration into mainstream Hinduism occurred through a process of syncretism that blended its indigenous origins with elements from Vedic, Puranic, Buddhist, and Jain traditions, allowing the deity to be reinterpreted as an embodiment of dharma or cosmic order. Scholars have noted amalgamations with major Hindu deities, including Surya as the solar aspect representing light and justice, Varuna as the overseer of moral law, Vishnu in his role as preserver of righteousness, Yama as the arbiter of death and fate, and Shiva embodying destruction, fertility, and ascetic power. Additionally, Buddhist influences are evident, with Dharmathakur often equated to Buddha as a figure of enlightenment and ethical governance, a connection highlighted by Haraprasad Shastri, who described the cult as a remnant of living Buddhism in Bengal. Jain elements also contributed to this fusion, reflecting the deity's adaptable nature. This fusion enabled the deity to transcend its tribal roots, appealing to a broader Hindu populace while retaining folk elements. Brahmin authors played a pivotal role in this integration by composing vernacular texts that elevated Dharmathakur's status and promoted its worship among non-Brahmin communities, thereby bridging folk and Sanskritic traditions. The Dharma Purana by Mayura Bhatta, one of the earliest such works, portrays Dharmathakur as a supreme ethical force, drawing on Puranic narratives to legitimize the deity within orthodox Hinduism. Similarly, the Dharmamangal genre, recast by Brahmin poets like Manik Ganguly and Ghanarama Chakrabarty in the 17th and 18th centuries, emphasized themes of devotion and social harmony, encouraging patronage from local elites and facilitating the deity's acceptance in temple-based rituals. During the 17th and 18th centuries, regional patronage further diversified the cult, with variations in worship practices across districts as analyzed by Frank J. Korom, reflecting adaptations to local agrarian and social contexts. In southwestern 's , for instance, poets like Rupram Chakrabarty integrated Dharmathakur into narratives of kingship and fertility, supported by zamindari patrons who sponsored Gajan festivals to bolster community ties. This period marked a shift from purely aniconic folk veneration to more structured Hindu observances, solidifying Dharmathakur's position as a gram devata or village protector. The transition to a formalized gram devata culminated in the establishment of dedicated temples, such as the one in Jaun Bazaar, Calcutta, built around 1893–1894, which housed stone images of the deity and symbolized its urban adaptation amid colonial influences. This development underscored Dharmathakur's evolution from a localized tribal figure to a syncretic Hindu guardian, worshipped across lines in both rural and emerging city settings.

Iconography and Symbolism

Physical Representations

Dharmathakur is primarily represented in an aniconic form as a shapeless or abstract stone, typically daubed with vermillion and often oval or irregular in shape, placed under a , in the open, or within simple shrines. This amorphous representation underscores the deity's in folk traditions, where elaborate idols are notably absent across most worship sites. A comprehensive survey of 272 Dharmathakur sites revealed that stones (shilas) constitute the core physical form in 95% of cases, with common shapes including tortoise-like (30%), round (21%), hemispherical (18%), rectangular or square (11%), elongated (10%), and pyramidal (3%). These unadorned stones, sometimes exhibiting natural resemblances to faces, are housed in rudimentary structures or natural settings, reflecting the deity's non-iconic essence and resistance to anthropomorphic transformation. Anthropomorphic depictions are rare, limited to about 1% of sites with subtle image-like features, such as naturally formed elements on stones, rather than crafted statues. In temple contexts, supplementary terracotta plaques and sculptures occasionally adorn the surroundings, as seen in structures like the Dharma Thakur temple at Nimtala in Bishnupur, where terracotta figurines integrate with the stone representation. Solar motifs and four-faced figures appear sporadically in regional anthropomorphic variants, though they remain exceptional and tied to syncretic influences rather than standard .

Vehicles and Attributes

Dharmathakur's primary is the , typically represented in terracotta or wood, which symbolizes the swift enforcement of and the deity's solar journeys across the heavens, reflecting his associations with the sun . In the of , these horse figures are integral to , often used in sacrificial rituals where they serve as symbolic offerings to invoke the deity's protection and fulfillment of vows. The renowned Bankura horses, stylized terracotta sculptures from West Bengal's , function as votive items dedicated to Dharmathakur, embodying devotion and placed at shrines to represent his mount. In certain locales, an appears as a secondary , signifying royal authority and the deity's dominion over earthly powers.

Worship and Rituals

Priesthood and Devotees

The worship of Dharmathakur is predominantly carried out by devotees from lower castes, including the Bauri, Bagdi, , and Dom communities, who form the core of its agrarian base in the rural villages of the in . These groups, often classified as scheduled castes, view the deity as a protector and granter of fertility, justice, and community welfare, reflecting the folk and inclusive nature of the cult that extends to other agrarian communities like Goalas and even higher castes or tribal groups such as Santals in certain areas. While open to participants from diverse backgrounds, the devotion remains centered on these marginalized social strata, who actively engage as bhaktas (devotees) in village-based observances. In 2023, urban worship was revived in Kolkata's area, involving broader communities including , , , and Jains, organized by groups like the and ISKCON, marking an extension beyond traditional rural practices. The priesthood is distinctly non-Brahminical, led by hereditary figures known as Deyashis or Dharma Pandits, typically drawn from the same lower castes such as Doms, Bagdis, Kaivartas, Shundis, or Dhopas, who serve without formal Vedic training. These , often acting as both leaders and folk healers, don distinctive attire like copper rings or garlands of shoes during ceremonies, emphasizing the cult's departure from orthodox . Brahmin involvement is minimal and occurs only in sanskritized contexts, underscoring the autonomous, community-driven structure of the worship. Women play a notable role in specific observances, particularly , where childless participants seek blessings through offerings and ritual participation, such as collecting sacred water or joining processions with items like rice and . As a gram devata (village ), Dharmathakur fosters communal unity across castes, serving as a symbol of protection, , and social harmony in rural settings, where shrines are maintained as shared village property. This structure highlights the 's function in binding agrarian communities for collective justice and welfare.

Daily and Seasonal Practices

Daily of Dharmathakur typically involves simple offerings at stone shrines, where devotees present flowers, fruits such as bananas, bel leaves, , and applications of vermillion to the deity's aniconic representation, often a shapeless or clay figure housed in thatched huts or under sacred trees. These rituals are performed routinely on Tuesdays and Saturdays by local priests or household devotees, accompanied by prayers in disputes and bountiful harvests to ensure community prosperity. Such practices underscore Dharmathakur's role as a village guardian, with invocations focused on resolving moral conflicts and safeguarding agrarian life from adversities like crop failure. Seasonal observances occur primarily during the Bengali months of Baisakh, Jaistha, and Asarh, particularly on days, with additional simple pujas sometimes held on the last day of Bhadro, marking transitions in the agricultural calendar. These timings align with pre-monsoon and early rainy seasons, when rituals emphasize fertility of the , invocation of for crops, and protection against diseases or untimely that could disrupt rural livelihoods. Devotees conduct modest pujas with the standard offerings of flowers, , and vermillion, often in open-air shrines near fields, to propitiate the deity for agricultural abundance and communal well-being. Votive practices form a key aspect of devotion, where individuals fulfill vows (manat) by presenting symbolic items such as fruits or animal offerings at shrines in exchange for healing from illnesses, resolution of , or recovery from misfortune, reflecting the deity's protective attributes over and . In rural settings, these acts tie directly to agricultural cycles, as successful harvests or personal recoveries prompt gratitude offerings to sustain the deity's favor for future seasons.

Festivals

Gajan Festival

The Gajan Festival serves as the central annual observance dedicated to Dharmathakur, also known as Dharmaraj, in rural Bengal, particularly in the Rarh region. This event, lasting several days and typically spanning three primary phases, is timed to coincide with the agricultural cycle in the spring season, beginning around Chaitra Sankranti (late March or early April) and extending into early Baisakh (April-May). It ritually enacts the symbolic marriage of Dharmaraj to Mukti, representing themes of fertility, renewal, and cosmic union between the deity and the earth goddess. The festival underscores Dharmathakur's role as a protector and fertility deity, blending agrarian devotion with ascetic discipline. Central to the Gajan are the ascetic practices undertaken by sannyasis or bhaktas (devotees), who embody temporary to honor the through self-mortification. These include hook-piercing, where iron hooks are inserted into the flesh of the back and devotees are swung from a tall pole amid communal chants and drums, and the , performed on the eve of the festival's conclusion, involving devotees dancing with human skulls or symbolic representations to invoke ancestral and chthonic forces. Such acts of and endurance, distinct from mainstream Hindu , draw from pre-Hindu tribal traditions and symbolize submission to divine justice and purification. Animal sacrifices, often of goats or buffaloes (though sometimes substituted with rice or vegetable offerings in modern practices), accompany these rites at temporary shrines, offered to appease Dharmathakur and ensure bountiful harvests. Horse processions form a of Dharmathakur's Gajan, setting it apart from Shiva-centric variants; devotees life-sized terracotta or figures, symbolizing the deity's vehicular aspect and evoking ancient equine cults linked to solar and . These processions, accompanied by rhythmic drumming and folk songs narrating Dharmaraj's myths, traverse villages, reinforcing communal bonds and territorial protection. The festival's structure incorporates dances, where groups perform vigorous, trance-inducing movements mimicking tribal war dances to mark the seasonal transition. Non-Aryan elements permeate the Gajan, with its origins traceable to indigenous tribal rites involving shamanistic body modifications and equine symbolism, which contrast with the bull-centric motifs of Shiva's Gajan. These pre-Vedic influences manifest in the festival's emphasis on -bound rather than ascetic transcendence, as devotees "surrender to the " through and offerings. The event culminates in communal feasts sharing sacrificial prasad, distributing rice, vegetables, and meat to participants and villagers, thereby affirming social cohesion and reciprocity with the divine.

Other Regional Celebrations

Charak Puja forms a climactic ritual within the Gajan festival in various parts of rural Bengal, where devotees engage in rigorous acts of penance including hook-swinging from elevated bamboo structures known as charak trees and traversing beds of burning coals, embodying the syncretic reverence for Shiva and Dharmathakur as guardians of justice and fertility. These rituals, performed primarily during the Bengali month of Chaitra, underscore themes of purification and communal endurance, drawing participants from lower-caste communities who seek divine intervention for agricultural prosperity. In some villages of the , local variations emphasize the ritualistic union of Dharmathakur with his consort Mukti through symbolic marriage ceremonies that highlight and the of male and female principles, often culminating in offerings of earthen vessels representing the . This observance, rooted in folk traditions, emphasizes agricultural abundance and familial well-being, with devotees enacting dramatic reenactments of the divine to invoke blessings for bountiful harvests. District-specific practices add further diversity to Dharmathakur's worship, such as in where processions featuring elephants as the deity's symbolic occur during ceremonial outings, reflecting pre-Hindu tribal influences on the . In Birbhum, solar-aligned rites incorporate sun symbolism inherent to Dharmathakur's identity as a , involving offerings timed to lunar cycles that align with seasonal transitions. Modern community fairs in , notably the annual Dharma Thakurer Puja-O-Mela held from to May 15, foster regional gatherings with displays of terracotta horses and elephants offered as votive symbols of devotion and wish fulfillment.

Cultural and Literary Significance

Role in Bengali Folklore and Society

In rural Bengali society, particularly in the of , Dharmathakur functions as a vital dispenser of , intervening in village disputes and maintaining through divine oracles and interventions. Devotees believe the deity resolves conflicts by possessing bhaktyas (devotees) during , who then provide guidance on matters such as disagreements or familial quarrels, as observed in villages like Tantipara and Metela where the deity's serves as a communal arbiter. Additionally, Dharmathakur is invoked for protection against epidemics and calamities, with illnesses often interpreted as karmaphal (consequences of failings or neglect), prompting to avert outbreaks and restore communal health. Folklore surrounding Dharmathakur portrays the as a relentless punisher of evil, deeply intertwined with the rhythms of agrarian life and the of lower-caste communities. Legends depict Dharmathakur roaming villages at night on a to enforce , punishing wrongdoers through misfortune or , such as in tales where negligence leads to calamity or where the deity aids humble protagonists against oppressors. These motifs reflect agrarian dependencies, with rituals emphasizing —such as blood sacrifices and the ceremonial bathing of Baneswar (a symbolic representation)—to ensure bountiful harvests and protect against droughts, while lower castes like Bagdi, Bauri, and Dom hold prominent roles as (deyashis) and patrons, thereby asserting agency in a stratified society traditionally dominated by higher castes. Despite and modernization pressures, Dharmathakur's persists strongly among rural communities, sustaining and social cohesion in areas like Barddhaman and Birbhum. Practices continue through annual festivals that unite diverse , with adaptations such as the replacement of traditional committees by individual organizers and the persistence of folk medicine by deyashis, even alongside government health centers, highlighting the deity's enduring appeal for holistic protection. However, challenges arise from mainstream Hinduism's Sanskritization efforts, where priests increasingly officiate, sometimes excluding lower from core rituals and diluting folk elements like animal sacrifices, though lower-caste groups retain influence in subaltern aspects of . Post-2000 observations indicate ongoing revivals in rural pockets, with dynamics evolving as Bagdi communities maintain sacrificial roles amid broader Hindu integration, underscoring the deity's role in negotiating identity amid socioeconomic shifts.

Depictions in Dharmamangal Literature

The Dharmamangal constitutes a prominent subgenre of the medieval Bengali Mangal Kavyas, composed primarily between the 16th and 18th centuries as poetic eulogies dedicated to the folk deity Dharmathakur, also known as Dharmaraj. These texts, composed in vernacular Bengali, served to elevate the deity's status through elaborate narratives that integrated local traditions with broader religious motifs. Key poets in this tradition include Rupram Chakrabarty, who contributed a seminal work in the 17th century blending indigenous folklore and external influences; Manik Ram, active around 1781 in the 18th century; and Ghanaram Chakrabarty, whose composition around 1711 further expanded the corpus. Central to the Dharmamangal narratives are accounts of Dharmathakur's divine origins, epic battles against adversaries, and acts of benevolence toward devotees, often framed as quests for moral order and prosperity. In Rupram's text, the deity's genesis incorporates folk elements like parental cannibalism, reinterpreted through Puranic lenses to symbolize and redemption, while also reflecting syncretic dialogues influenced by Portuguese Catholic themes of and . Manik Ram's version emphasizes warrior epics, such as the Lausen's trials involving and martial confrontations, where Dharmathakur intervenes divinely to ensure victory and ethical resolution, merging local Dom community lore with heroic Puranic archetypes. Works like Ghanaram's highlight protective benevolence and communal rituals, portraying the deity's in averting calamity through invocations and festivals. These stories fuse rustic folk tales—rooted in agrarian and tribal customs—with Puranic episodes, such as allusions to cosmic battles, to legitimize Dharmathakur's supremacy. Thematically, Dharmamangal promotes as the core principle of righteous conduct, depicting Dharmathakur as the embodiment of who rewards and punishes moral lapses, thereby fostering village prosperity through harmonious social order. permeates the genre, evident in the assimilation of non-Hindu elements—such as Iberian Christian motifs in Rupram's work or Mughal-era socio-political nuances in later compositions—to enrich the 's portrayal, reflecting Bengal's multicultural milieu during early modern times. A key aspect is the Brahminization process, where poets elevate the originally tribal or lower-caste by attributing Vedic attributes and priestly endorsements, transforming folk worship into a more orthodox framework while preserving its populist appeal. Historically, these texts hold significance as primary sources for tracing the evolution of Dharmathakur's worship, capturing regional variations in ritual practices and social hierarchies across 16th- through 18th-century . Author-specific differences—such as Manik Ram's focus on martial valor versus emphases on female agency and Mughal interactions in other works—reveal shifting cultural dynamics, including negotiations and colonial encounters, providing insights into precolonial Bengali society's religious adaptations.

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