Rasai Devi Devi Yatra and Palkhi Story
Rasai Devi Devi
Rasai Devi is the family deity (kuladevata) of the Yadavas of Devagiri. At the foothills of Devagiri Fort, there is a self-manifested (swayambhu) temple of Rasai in a cave. A history associated with this place says that Goddess Rasai once lifted the Devagiri hill on her little finger. Another story about this Goddess says that after the fall of the Yadava kingdom of Devagiri, there was a magnificent temple of Rasai in the capital of the Vijayanagara Empire, which was established by the brothers Harihara and Bukka.
She was the royal family deity of the kings of Vijayanagara. Rasai Devi is mentioned in Mahipati’s Bhaktavijay (Chapters 42–46). It is stated there that when a Brahmin from Pandharpur, driven by a desire for wealth, went to Vidyanagar (Vijayanagara), King Krishnadevaraya informed him about the temple of Rasai (Rajai). The text says: “Such a deity as Rajai cannot be found even if searched across the three worlds; we have neither heard of nor seen such a deity,” says Krishnaraja. The Devikosha states that the form of Goddess Rasai is similar to that of Shitala or Jyeshtha Devi.
The worship of Rasai Devi is prevalent in Maharashtra as well as Karnataka. In Pune district, temples of Rasai Devi are found at Vadgaon Rasai (Tal. Shirur), Nanagaon (Tal. Daund), and even submerged in the waters of the dam on the Bhima River. Similarly, there are temples at Asandoli (Tal. Gaganbawada), Shendur (Tal. Kagal), Savardi (Tal. Amravati), Chafed (Tal. Devgad), Keloshi Budruk (Tal. Radhanagari), and in the village of Rasai Shendur in Karnataka. Rasai Devi is regarded as the village goddess (Gramadevata) of Achirne and as a powerful, awakened shrine. A temple has been constructed for the Goddess here, situated in a large open, ground-like area.
Achirne Rasai Devi Devi
The temple is enclosed by a compound wall on all four sides. Entry into the temple courtyard is through a tall cement-concrete gateway arch. In front of the temple within the courtyard stands an ancient peepal (sacred fig) tree with a large raised platform built around it. A little distance away are two platforms bearing four-tiered lamp pillars. Between them is a small tulsi (holy basil) shrine. In front of this, a large tin-roofed shed has been constructed to provide shade for devotees and for holding various programs and festivals. From here, one enters the temple’s assembly hall (sabhamandap). The temple consists of a sabhamandap, an antarala (vestibule), and a garbhagriha (sanctum).
The sabhamandap is semi-open in design, with an entrance having cusped arches and large windows. There are side chambers on both sides of the hall.
On the left side here, beneath a pillar and raised above ground level, a structure resembling a stone pedestal (pindi) can be seen. This is known as the “Baracha Chavhata.” A chavhata is a place where justice is administered when any wrongdoing, immoral act, or crime occurs in the village. When this chavhata was established, people of all castes in the village came together and pledged to abide by the decisions taken here.
From the spacious sabhamandap, one climbs seven steps to enter the antarala. The antarala is also large and has a rear entrance. Leaving space on the sides for circumambulation, the central area contains the stone sanctum of the Goddess. The doorway of the sanctum is wooden, while the side frames are of stone, consisting of a single-shafted design. On the lintel (lalatbimba) of the doorway is an image of Lord Ganesha. Inside, at the center, on a stone pedestal (vajrapitha), stands the four-armed, upright, symmetrical (samapada) stone image of Goddess Rasai along with smaller stone representations of attendant goddesses. Beside her, on another stone pedestal, is a symbolic rice-stone (tandala) of the Goddess.
Within the antarala, on one side, six staffs representing six deities, one abdagiri, and the Goddess’s palanquin are kept. When the palanquin procession is taken out, these staffs and the abdagiri are danced with.
Above the antarala rises a tapering shikhara (spire). On its lower level, there are small shrines on all four sides. The upper portion of the shikhara is ornamented with carvings and is crowned with a double-tiered amalaka and a kalasha (finial). Leaning against the outer wall of the sanctum is a sati stone (sati-shila). This slab has three panels: the lower panel shows two female figures, while the top panel depicts a husband and wife worshipping a Shivlinga. In the same panel, the bent arm of the sati from the elbow is also shown. Within the temple compound there is a stage as well. During the festival period, Dashavatari plays and other programs are held here. At a short distance from this place, there is also an ancient well built of stone.
Rasai Devi Devi Yatra and Palkhi
Every year, the Goddess’s fair (yatra) is held on Shakambhari Purnima in the month of Paush. It is considered one of the major fairs in Vaibhavwadi taluka. People who have settled elsewhere for jobs or business, as well as married daughters of the village (maheravashini), make a special effort to attend.
During this time, vows made to the Goddess are fulfilled. Married daughters offer oti (ritual offerings) of saree pieces and coconuts to the Goddess. The fair lasts for three days. On the third day, the Goddess’s palanquin is taken to a sacred grove (devrai) located in the hills away from the village. Locals say that this grove is the original abode of Rasai Devi. One has to walk through a forest path to reach it. The shrine here is under the open sky. At this place, there is an arch bearing an inscription reading: “Shri Dev Gango Hango Brahman Rameshwar Nandi Prasanna.” Near the entrance stands a large, old termite mound. Further ahead, on a stone platform, are the circular stones (tandale) representing the Goddess. Behind this shrine are several sati stones.