Kathmandu University

School of Engineering
Department of Civil Engineering
Bachelor of Architecture

History of Nepalese Architecture – III

Report on

Rato Machindranath Jatra

SUBMITTED BY: SUBMITTED TO:

Robin Pandey.09 Ar. Jharana Joshi
Aaditya Raman Singh.24
Anubhav Thapa.26
Bijay Kumar Yadav.29

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Table of Contents:

TOPICS PAGE NUMBER

Introduction 3

Myths 4

About Rath & Making of Rath 5-6

Minnath Rath 6

Route 7-8

How is this Festival Celebrated? 9

The Impacts of Festival on Society & Architecture 10-12

Associated Temples 13-16

Bhoto Jatra 16

What if festival isn’t successful? 17

Conclusion 18

References 18

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INTRODUCTION

Bunga Dyah Jatra or the Jatra of Rato-Machindranath is the longest

running jatra in the country Nepal. This Jatra generally lasts for a whole
month. The main attractions of this jatra are the raths or chariots of
Machindranath and Minnath, which are about 60 feet and 32 feet in height
respectively. The chariot is decorated with all kinds of garlands and other
decorations. The chariot is constructed at Pulchowk at the western end of
Lalitpur. When the chariot has been completed the image of Bunga Dyah
is installed in the chariot which is brought from Bunga Dyah’s temple, at
Patan.

Machindranath is the deity of rain and when the Rath is pulled it always
rain, to signify that the god is pleased by what the worshippers are doing.

This festival is mostly celebrated by the Hindu and Buddhist of the Newar community. The rath pulling and
the jatra are believed and done by the people of the Newar community themselves. It is believed that the
Machindranath is the guardian of Kathmandu valley. This belief has been going on since Medieval times. Like
in Patan, even in Kathmandu a rath is pulled, but this rath is of Seto Machindranath.

Picture of the Chariot

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MYTH:

In Gorkha lived a sage by the name of Gorakhnath, who decided to visit Kathmandu valley. It is normal for
ascetics to live off alms from locals, so he went around seeking alms while he was in Kathmandu.

Kathmandu valley is home to 3 major cities – Kathmandu, Bhaktapur, and Lalitpur then known solely as Yyen,
Kwopa and Yela respectively. The residents of Yela, who were mostly farmers. When Gorakhnath came and
asked for alms to the residents of Yela, they were unable to give any to him. Moreover, they showed great
disrespect to the sage. Few hold more fury than a sage who has been wronged. In anger, Gorakhnath vowed to
avenge the insult and decided to deprive the farmers of the most essential element needed for farming: Rain.

Gorakhnath bonded the 9 Nagas, who are believed to be responsible for bringing rain to the valley and sat
down on his head and gone into a state of deep meditation, at Mrigasthali. Rainfall did not occur that season
nor for the next 12 years. Gorakhnath’s vengeful drought had begun. Residents of the valley, oblivious to what
had happened, suffered.

Narendra Dev, the king of the valley, aware of the desperate situation, went to guru Santikar Bajaracharya,
at Gopuchha parbat, behind Swyambhu. He made the king aware about Gorakhnath’s trance and the only
solution to the problem: traveling all the way to Assam in northeast India, where Loknath, and incarnation of
Machindranath; the angry Gorakhnath’s teacher, resided and invite him visit Kathmandu valley. Guru
Bandhudatta Bajracharya from Yyen, King Narendra dev from Kwopa and Rathan Chakra from Yela
underwent this massive task and brought Machindranath to the valley from Assam.

Upon reaching the valley, the locals took Machindranath to Mrigasthali. Sensing that his guru had come,
Gorakhnath had no other option than to come out of his trance and stand respectfully in the presence of his
teacher. Thus, Gorakhnath’s vengeful meditation was broken, and the rain-bringing snakes became free to
bring rain to the valley once again. To show their deep gratitude, the locals henceforth started honoring
Machindranath by organizing a month-long jatra every year.

Rath & Making of the Rath

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The idol of rato machindranath God is installed in a 60 ft. tall made up of materials like saur timber and ropes
like dry cane and vines which is brought by scouring forest.

The chariot consists of a deck carried by four wheels and a yoke in front. The individual parts of the chariot
represent different deities. The elongated yoke in front of the chariot represents karkat naag, the serpent which
helped deity travel from assam, four wheels and painted eyes represents bhairab, bodyguard of machindranath
and the three directions of chariot’s deck represents God brahma, vishnu and maheshwar. There is also a
smaller chariot of minnath of about 32 feet tall. Minnath is believed to be the son or daughter of machindranath.

The chariot making process is started 18 days before the festival, which is held on pulchowk, the starting point
of the festival. Every 12 year the chariot is brought from Bungamati and the same chariot is dismantled and
assembled in pulchowk every year for 12 years.

Pic: Making of Rato Machindranath Pic: Assembling wooden parts

There are different groups of communities which take the responsibility of building the chariot every year. A
group of Newar community called barahis are the carpenters who assemble the wooden part of rato
machindranath chariot whereas the yewals, also known as master vines man, helps to construct chariot by

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weaving rope and rattan to secure wooden structure. With the effort and hard work of these people, the chariot
is made and prepared for the procession.

MINNATH RATH

Son/Daughter/Brother/Friend of Rato Macchindranath (according to

some stories). In the Satya Yug, the God of Death Yamaraj transformed
himself into a fish (Min) and came to Nepal where he became famous
with the name of Minnath Lokeshwor. It is believed that around 356 BS,
Yamaraj appeared in the dream of king Anshuverma, a Licchavi king of
the Surya dynasty, and told the king to make his idol and install it. From
the same year the deity’s idol was made and installed and was named as
Minnath Lokeshwor. Bandhu Dutta, a tantrik, who assisted in bringing
the Rato Machhindranath from India to Nepal was supposed to keep all
the deities in a single chariot and conduct the festival. But Minnath in
anger hit a chaitya and tried destroying it. Since then, a separate chariot
for Minnath was made…

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ROUTE:

❖ DAY-1: Pulchowk Damkal to Gabhal

❖ DAY-2: Gabhal to Sundhara
❖ DAY-3: Sundhara to Chuka Bahal via Mahaboudha
Temple
❖ DAY-4: Chuka Bahal to Lagenkhel
❖ Coconut dropping festival
❖ Chariot is pulled by women one day
❖ DAY-5: Lagankhel to Jawalakhel
❖ Bhoto jatra
❖ Disassembly

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After the chariot is constructed in Pulchowk, it is drawn along the route shown on the map. People living in
the surrounding area come to make offering at each place the chariot is stopped. The chariot is kept overnight
in each place.

• From Pulchowk the chariot is pulled to Gaha Bahal.

• After Gaha Bahal, the chariot is pulled to Sundhara. A festival of offering is celebrated here which is called
Pegu Jatra.
• Then the chariot makes its way to Chuka Bahal through Mahaboudha Temple.
• The chariot is then pulled to Lagankhel where it is kept for almost a month.

In Lagankhel, the chariot is pulled around the tree considered to be the mother of Machindranath. A festival
where coconut is dropped from the top of the chariot is also celebrated. It is believed that whoever catches the
coconut will give birth to a son within the year.
The other thing that's done is some women participate in pulling the chariot for some distance. In this way,
everyone gets to participate.

• Later some astrologers determine the auspicious date to pull the chariot to Jawalakhel to celebrate Bhoto Jatra.

During the “Barha Barsa Jatra” which happens once every 12 years the chariot is brought from Bungamati.
The chariot is brought from Bungamati through Bhaisepati, Nakkhu, Bhanimandal, Jhamsikhel, and finally to
Pulchowk. After this, the chariot is pulled through the normal route. After the end of Bhoto Jatra, the chariot is
taken back to Bungamati.

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HOW IS THIS FESTIVAL CELEBRATED?

The jatra starts off with the community coming together to construct a 60-foot-tall chariot in 15 days. The
chariot has 4 big wheels, each engraved and painted, and two long ropes that are used to pull the chariot across
the city.
The focal point of the festival is the hauling of the enormous chariot with its massive wheels and a tall tower-
like mast. Teams of young jatra-goers haul it inch by inch by pulling its thick ropes. Moving this cumbersome
contraption through different parts of the city is not an easy task, what with the narrowness of the streets and
alleys, and the tangle of electrical wires over them.

The chariot is decorated with flowers and religious symbols and is accompanied by musicians playing
traditional Newari music. There are idols and pictures of the Rato Machindranath inside the chariot, often
accompanied by priests. The chariot of Bunga Dyah is also accompanied on the journey by a similar but smaller
chariot of Chākuwā Dyah (चाकुवा द्यः ).

The chariot is dragged through the streets of Patan, Lalitpur. Starting from Pulchowk, it is driven through
different parts of the city – Natole, Gabahal, Mangal Bazaar, Sundhara, Lagenkhel, Kumaripati, and
Jawalakhel.

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The Impacts of Festival on Society and Architecture

I. On Society
The Rato Machindranath Festival has been the center of culture and tradition among Newari people for a long
time. The practices have been associated with the festival. The Nepalese festivals relate with the livelihoods
of the people. The primary occupation of the Newars in the valley was agriculture. So, most festivals celebrated
in the valley celebrate certain aspects of agricultural life. The Rato Machindranath Festival was also started
with the intention of ending the drought that had damaged the agricultural life of people in the valley. All the
stories and legends relate with the farmers at that time, so it is quite clear that festivals and occupation of people
are interrelated with each other during the origin.

As mentioned in the history of Nepal, Nepal wasn't unified as one kingdom till 1769 AD. The place was divided
into different societies and small groups and people wouldn't really connect with the people of other societies.
The societies of Bungamati and Patan were not different. Although these two places seem close in modern
days, they used to be far from each other during those times when transportation services weren't in practice.

But the festivals like Rato Macchindranath Jatra were what used to bring people together. This festival also
acted as the form of communication between people of Bungamati and Patan. They used to gather one month
of the year for this auspicious occasion and celebrate together. This also contributed to maintaining peace
among the kingdoms during those times. The equal importance of Avalokitesvara/Karunamaya deity in both
Hindu and Buddhist religion helped in maintaining religious harmony in the country.

The negative aspect of developing society has also affected these types of old festivals. Especially in the past
50 years, population density and number of houses in Kathmandu Valley has seen a sharp rise. The unplanned
urbanization along with this rise has brought negative impacts on the environment.

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II. On Architecture

Pic: Traditional Newari houses

As we are mainly dealing with the architecture that relates with the festivals in these findings, mentioning the
impacts of this festival on architecture is mandatory. As mentioned in different books and records and seeing
the old photographs of the valley, the houses along the route of the chariot used to have similar facades of
traditional Newari houses. The houses used to be renovated and recolored every year before the time of festival,
giving much importance to the chariot. However, with the influence of modernization on the valley, the old
traditional Nepalese houses have been replaced by the modern concrete houses. These unmanaged housing has
somewhat diminished the value of the original tradition of the society.

Specially in Kathmandu Valley, there are many temples, pati-pauwas, waterspouts that go back a very long time
in history. Each of these structures were made for fulfilling the specific purpose at the time of establishment.
The main two temples that the deity resides in are in Patan and Bungamati. There are patis (rest houses) along
the route of the chariot which used to give shelter and rest to the travelers. Some of the specific rest houses
were made for the Goddess 'Kumari' to sit and watch the jatra. These structures have lost their values overtime.
They provide multiple functions as a structure.

Pic: - Kumari-Pati at Lagan Khel

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The picture above is of a single storied Pati (rest house) at Lagankhel. The goddess ‘Kumari’ observes the
festival from the Pati when the chariot is pulled to and from Lagankhel. This Pati, at other times, is used as a
shop, but during the festival it is cleared, and the throne is placed. However, in non-festival time, it is used by
vendors. It still retains its original timber structure. There are other spots throughoutthe route where the goddess
sits on her throne to witness the ceremony.

The picture above is of a four storied building of traditional daachi bricks and carved timber frames at Thati.
This provides shelter to the group of Panjus who have a strict lifestyle associated with their tradition. This
building was constructed in recent years when modernization has already influenced most of the places in
Patan. Even though this building is built in concrete framework, this building resembles traditional architecture.
What this shows is that the people closely related to the tradition and working for it still believe in the old
values and norms. Therefore, the modern buildings or structures that are associated with the festival are still
built-in traditional style.

The village of Bungamati is a Newar community in the southwest of Patan. Since the origin of the
Machindranath deity and the main temple resides at the southern end of the village, the social life of the village
revolves around the festival. These houses still have Newari-style architecture and traditional way of
construction. There are religious rest houses in different places here. So, the architecture of the entire city is
the traditional Nepali way.

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ASSOCIATED TEMPLES
The deity of Rato Machindranath is known as the only deity of the valley to have two temples of residence.
The main and older temple is in Bungamati and another temple is in Patan. These temples are very different to
each other, but both are equally important for the festival. In modern times, the main deity of Rato
Machindranath resides in both temples for 5-6 months.

- RATO MACHINDRANATH TEMPLE, BUNGAMATI

The Rato machindranath temple situated in Bungamati

lies at the southern part of the village. This is the main
and original temple associated with the deity. This was
the only temple of Rato Machindranath till the 17th
century. This temple is built in Shikhara style, most
probably influenced by the Indian architecture since it
was built in the Licchavi period. This single storied
temple is built entirely of stones in an open courtyard
surrounded by ordinary Newari houses and patis. The
temple lies on a plinth of two levels, the top level being
about 4.5 feet above the level of the ground, and about 20
square feet.

The sanctum is surrounded by a veranda about three

feet wide. There are doors into the sanctum on each
side, but the main door, and the only one that is
opened, is the north door. There are statues of lions
guarding the entrance. There is one large and one
small bell on the left of the main entrance. The idol
is kept inside the main door and the rest of the
sanctum is in the dark interior.

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The main sikhara has a height of about 30 feet, which is surmounted
by a golden pinnacle crowned with a golden umbrella. There are eight
smaller shikaras of about 6 feet, rising one at each corner and another,
slightly taller, over each of the entrances. These smaller shikaras are
also crowned with golden pinnacles.

There are several small chaityas in the south and west of the temple.
In the south-west corner of the temple courtyard lies the temple of
Bhairava. Sacrifices are performed there every morning and the
temple holds a place in the life of the village second only to that of
the main temple.

This historic temple was destroyed by the earthquake of 2015 AD. At the time of crisis, different countries
offered help to the country to rebuild the various historic structures. Sri Lankan government had pledged to
support in the reconstruction of Anandakuti Mahavihar in Swayambhu of Kathmandu and the Rato
Machindranath Temple in Bungamati of Lalitpur. The former site has been reconstructed, but the latter hasn't
moved forward because of the withdrawal of Sri Lanka for the reconstruction. Among the different
controversies that led to this decision was the use of materials such as bricks, cement, and limestone. Citing the
project used ‘modern’ materials that would affect the temple’s value, the locals had also wanted the project to
stop and thus it is not rebuilt.

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- RATO MACHINDRANATH TEMPLE, PATAN

Another temple of Rato Machindranath, more popular among people nowadays, is situated about 400 meters
south of Patan Durbar Square in a large courtyard known as Ta Baha. This temple is written to have been built
in 1673 on the foundations of older temples. Previously, the chariot of Machindranath was brought from
Bungamati to Patan every year. One time, the water level of Nakkhu Khola, situated in the middle of the route
had risen extensively, which made it impossible to pull the chariot. So, people decided to build another temple
in Patan, which would house deity for 6 months and the temple of Bungamati would house idol for 6 months.
This temple of Patan is a tall Newar-style temple with three tiers of diminishing roofs. It is surrounded by a
large grassy lawn. The roof surfaces are covered with metal sheets (copper). Roofs are supported by 20 struts
each on the first and second story, and 12 struts on the third story. All 52 struts are carved with a depiction of
Avalokiteśvara in varying poses.

The temple is surmounted by a pinnacle. The pinnacle has

four small golden pinnacles around one large central spire
over which is a multistage golden umbrella held up by six
curved supports. The roof struts are elaborately carved with
figures of many armed deities. On top of the platform is a
circumambulatory passage surrounded by a railing. Into the
railing are a series of 143 Tibetan prayer wheels with a
small lamp in front of each. Like many Newari temples, the
north facade (main facade) is festooned with a large variety

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of pots and pans mounted to tables. A long pataka strip hangs
from the top of the temple to nearly ground level, allowing
Machindranath to descend to earth Immediately to the north of
the temple are a few pillars mounted sculptures in bronze which
face the main entrance of the temple. They consist of an elephant,
a lion, a cobra, a whale, a peacock, a statue of Garuda, and a
group of five deities, each with a foot resting on its respective
vehicle.

This temple is more commonly referred as the Rato Machindranath temple nowadays. It was not seriously
affected by the earthquake of 2015, but the temple is in the stage of needing renovation.

Bhoto Jatra

Bhoto Jatra is celebrated at the end of the month-long Rato Machindranath Jatra. The date of celebration is
chosen by astrologers. When the chariots reach Jawalakhel it is celebrated. In the festival, a bhoto (jewel-
studded black vest) is displayed by the head of the state (president) by climbing the chariot. The bhoto is
displayed from all sides of the chariot so everyone gathered can see it. After the festival, the chariot is
dismantled, and its parts are stored for the next year. The deity is also taken to the Bungamati temple. The deity
spends six months in that temple.

The story behind Bhoto Jatra is that the bhoto (vest) belonged to a Jyapu (Newari farmer). He had received
the bhoto as a gift from the serpent god Karkotaka Naga for healing his wife. The farmer then lost the vest
and later when he went to watch the chariot procession in Jawalakhel he saw someone wearing his vest.
This caused a quarrel and since no one could prove their ownership, an agreement was made where the
vest would be kept with Bunga Dyah until the rightful owner claimed it with proof. That's why the vest has
been put on display every year.

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What if the festival isn’t successful?

Many things can go wrong during this festival. Sometimes the idol is not painted perfectly, the chariot is
damaged on the way, or the tower falls. Any of such problems with the festival have, in the past, been followed
by ominous events and at times even death. In 1680, people noticed that the idol of Machindranath had lost
some of the paint on its face. The very next morning it was announced that the then king, Nipendra Malla, had
died.

In 1817, the same thing happened; the paint job on the idol had not been executed well. The same year, a
catastrophic earthquake devvestated the country. On another occasion, Viswajit Malla, the then king, felt
agitated as he attended the Machindranath festival. He imagined that the idol had shown its back to him, which
was not considered a good sign. He was right. That night, he was murdered in his bed.

In 2000, the tower-like chariot had crashed down into the crowd. No one was hurt, but the very next year the
entire royal family was massacred.

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CONCLUSION
To cut the long story short, Jatra does not only make us to enjoy it but also remember those times when people were so
much connected to nature in many ways. From the main occupation Agriculture to the rituals in jatra, everything
pushes us, a small single step towards the strengthening of the bond between us and nature currently. Not only with
nature, but also connects people to people, community to community. If the phrase ‘Unity in Diversity’ has an image,
then it has to be the public in the Jatra. Long before, when Nepal was not a single kingdom, Jatra connected people of
two different kingdoms which increased the mutual relationship.

Directly or indirectly, Jatra played a significant role in creation of Nepal which is currently renowned all over the
world for its people, their relationship along with cultural and historical uniqueness.

REFERNECES:
https://www.insidehimalayas.com/the-rato-machindranath-festival-chariots-furious-sages-and-rain-giving-snakes/

https://royalmt.com.np/news/wp-content/uploads/sites/3/2015/04/Bungmati.jpg
https://www.facebook.com/yomariCartoonSeries/
https://www.thirdrockadventures.com/travel-guide/rato-machhindranath-jatra

https://www.orientalarchitecture.com/sid/1473/nepal/patan/rato-machindranath-temple-of-lalitpur

https://honeyguideapps.com/blog/history-and-origin-of-machindranath-temple-lalitpur-nepal

https://www.nepalinarchives.com/2020/08/rato-machindranath-jatra-old-images-of-lalitpur.html

THE STORY OF AVLOKITESVARA KARUNAMAYA – Artha Ratna Tuladhar

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