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On this special day, Jagannath, Balabhadra and Subhadra leave the temple at Puri seated atop their chariots. The three chariots are pulled by the pious over a distance of nearly five kilometres to the Gundicha Bari temple. Here the gods will reside for the next seven days. On the ninth day of the festival, they will begin the return journey, known as bahuda or ultaratha. The stretch of road on which the chariots travel is known as badadanda or the grand road.
The faithful believe that a glimpse of Lord Jagannath seated on his chariot ensures salvation, so they throng to Puri for the rath yatra. The town turns into a veritable sea of people—they come crammed into every sort of vehicle. Prices of rooms in hotels skyrocket and most are booked months in advance, devotees unable to find a room camp on the sea beach; so don’t even think of a sand and surf holiday in Puri during this period. Also, coverage in the international media has ensured that more and more foreigners are coming to the town for the festivities. All the pilgrims have to battle the sultry weather—the scorching sun beats down, punctuated by sharp showers—but it is only a privileged few who manage a seat on the terrace of the Raghunandan Library and the handful of buildings located next to the temple complex.
Preparations for the Rathyatra begin months ahead. The three chariots are built every year and the collection of wood begins on Vasant Panchami (February/ March). The wood is collected from the forests of Dasapalla. Earlier the local royal family donated the wood, now it is the prerogative of the forest department. However, efforts are on to create a small forest near Puri that in future will supply the wood. The construction of the chariots begins on another auspicious day, Akshay tritiya (April). The carpenters who work on making of the chariots have been doing the task for generations. It is on a stretch of road next to the temple complex that the chariots are made. Shortly before the rath yatra, the idols are given a bath or snan-yatra, after which they go into seclusion for a week. During this period the temple remains closed to pilgrims. In earlier times, folk artists gathered near the temple to paint patachitras for pilgrims who were unable to see the idols and wished to take back a souvenir. Sadly, the popularity of printed material has forced the folk painters out of business and patachitras are a lost art. At the end of the seclusion, the idols are repainted and attain nava-yauvan or youth. Every 12 to 18 years, the old idols are buried with much fanfare and new ones made. The occasion called nava-kalebar or getting a new body, follows specific rules laid down in the almanacs.
A day before the festival, the chariots are lined up along side the Arun Stambha, an 18th century pillar made of chlorite, which is situated in front of the temple. The red and green chariot of Balabhadra, the Taladhvaja, is the eastern-most of the chariots. At the other end is the red and gold chariot of Jagannath, the Nandighosa, while the chariot of Subhadra, the Devdalan or Darpadalan, stands in the centre and is distinguished by its red and black colours.
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