Heritage tour
Jayabageshwori Temple

By Razen Manandhar

Among the monuments found in the Pashupatinath World Heritage Zone, one peculiar monument is the temple of Jayabageshwori. The ancient temple is dedicated to the mysterious aspects of Saraswoti, the goddess of education, wisdom and fine arts.

The temple, lies on the way to Chabahil, at the ancient Nawali tole, is extra-ordinary in architecture too. The main part of the temple is constructed in common Nepali style pagoda with three copper roofs, artistic wooden struts and an elegant finial. But the temple is flanked by two small temples annexed to it, giving the temple an uncommon rectangular shape.

The main entrance shows that the temple belongs to Durga in three forms. But the main sanctum of the temple in fact holds a simple looking goddess Jayabageshwori. She was brought from Kamarup, along with Rato Machhendranath for the country's prosperity. When she crossed the Shila river her feet happened to touch the water and the feet turned into stone, the legands say.

The standing life-sized goddess is embodyment of three goddesses and has six hands - two in blessing gestures (Saraswati), two with Sinhaamoo, and Jwalanhaykan (Mahalaxmi), shield and sword (Mahakali). The "vehicles" of the three, lion, peacock and Garud are depicted at the main entrance to prove her unified attribute.

The idol, like most of the ancient idols like Rato Machhendranath and others, is made of clay and the concerned priests repaint and rejuvenate it in every twelve years period, by dismantling and reconstructuring its limbs. Reading the pedestal inscription, historian Dr Dhan Bajra Bajracharya has said the idol is contemporary to King Anshubarma of 7th century AD.

There are two other idols in the same chamber - of Neel Bhairav (blue) and Aadi Ganesh (red). Both of the idols are equally rare according to Nepali iconography. The Ganesh is depicted with a human face that he had before his head was replaced with a baby elephant’s.

According to Devmala Cronicle, goddess Jayabageshwori came to Kathmandu Valley from Mansarobar. There was no idol till a fakir made a clay model of the goddess when King Shiv Dev was the ruler. Six generations later, King Anshubarma amended the tradition by only repainting the idol in 12 years. On the other hand, Bhasa Chronicle gives the credit of this to King Narendra Dev. The present temple was built by King Nripendra Malla (1674-80 AD). The last repainting of the Jayabageshwori took place several months ago.

On the outer wall of the northern annex, a big fresco of Blue Bhairav is made (to remind the Bhairav whose skin was peeled off and hung on the wall as a punishment for looking at the goddess) whereas the southern annex houses several ancient idols of Mother goddesses where animal sacrifice is an often phenomenon.

Major monuments of the area are the temples of Surya, Shivlinga, Chakrabyuha Narayan, Bishnu, Laxmi and a Chaitya. Similarly, Harishiddhi Sattal, Jayabageshwori Sattal, Trishul Jatra Sattal, Indrajatra Sattal and Ganesh Pati. And platforms of Jayabageshwori, Muu (chief), and Malakot also attest the live cultural events where dance troupes from Bhaktapur and Harishiddi came annually to perform in front of the temple.

The temple is rich in different festivals that attract the pilgrims throughout the year. Swan-chhay Pooja of May, Trishula Jatra of June, Pavitrarohan of August, agya Pooja of December and government Pooja of April are major religious activities of the temple.

The Jayabageshwori Dhuni Math has 195 ropani of land, presented probably by King Girban Yuddha Bikram Shah. Four priests are assigned to carry out daily and annual rituals in the temple.

Mirytunjaya Karmacharya, one among the priests, says the continuation of the temple rituals and festivals are not possible in the future as the Pashupati Area Development Trust has decided to drive away the people affiliated with the heritage of Pashupatinath temple. Karmacharya is now in search of a room at Chabahil to rent so that his family could live (This is what the government could award to the families who have been keeping the age-long heritage alive in the most ancient settlement of the Kathmandu Valley).

Despite richness of history, architecture and cultural phenomena, the temple is not in satisfactory condition. Many of the temples in the periphery are in ruins and artifacts from the temple have been stolen. This can be an example of the government’s carelessness to conserve ancient monuments. The stone step to the temple entrance is made of a Licchivi chaitya and three ancient Makaras of water spouts have been used as stone steps in corners. The slogans and budget the government spends in the name of heritage conservation is useless if it cannot estimate how serious each piece of ancient monument is.

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