Jiyat Kunda - The well of life

Jiyat Kunda - The well of life

English

In the year 1636, Shah Ali Asghar, the ruler of the Balkh region in Afghanistan, wished to pass on all the responsibilities of the kingdom to his son. However, his son had no interest in the throne. Instead, he aspired to become a missionary.
The kingdom-averse prince was named Shah Sultan Balkhi. He was a disciple of the pious Sheikh Toufic from Damascus. Following the Sheikh’s orders, he left the throne and dedicated himself to missionary work. One day, the Sheikh instructed him, “Now go to Bengal and focus on spreading the faith.”
Balkhi arrived in Sandwip by a peculiar fish-shaped boat, marking the beginning of his campaign in the region. Because of his arrival in such an unusual vessel, he was commonly known as Mahiswar (the Fish Rider). When he came to Bengal, he was not dressed as a king or sultan but in the simple garb of a fakir. Despite being a missionary, his royal blood did not go unnoticed. Whenever Hindu rulers resisted his mission, he would declare war and ultimately conquer their territories.
One such ruler was King Parashuram of Mahasthangarh. Initially, he did not prevent Mahiswar from staying in the region. He even granted him freedom to move within his own capital, Pundravardhan. However, King Parashuram was strongly opposed to Mahiswar’s missionary efforts.
Trouble began when one of Parashuram's council members converted to Islam. This event led to a fierce conflict between Mahiswar and King Parashuram. The dispute escalated into a significant and intense battle.
Despite killing countless soldiers with his sword, Mahiswar was unable to secure victory. This troubled Shah Sultan Balkhi greatly. Upon investigation, it was discovered that next to King Parashuram’s palace was a remarkable well. This well had the extraordinary power to revive the dead; soldiers who fell in battle were restored to life after touching the well's water. It was reminiscent of the magical rejuvenation stick from fairy tales.
Mahiswar had his own supernatural powers, so he sent a messenger with a piece of cow meat. When the meat was thrown into the well, it contaminated the water, causing it to lose its miraculous ability to revive the dead. The immortal well lost its magic of immortality. Consequently, the fallen soldiers could no longer be revived. King Parashuram was defeated, and Hindu rule in Mahasthangarh came to an end.
The legend says that King Parashuram was famously known as ‘Narasimha Parashuram’. Both parts of this name, ‘Narasimha’ and ‘Parashuram,’ are indeed avatars of Vishnu. This naturally raises the question: Could the Parashuram of the Mahabharata and Ramayana be the same as King Parashuram?
According to a story, the Earth once took the form of a cow and went to Vishnu to express its suffering and distress. Vishnu assured the Earth that he would take the form of Parashuram to alleviate its troubles and hardships. It is possible that, as a fulfillment of this vow, Parashuram made the Earth free of Kshatriyas twenty-one times. Since the Kshatriyas, through their wars, often caused widespread unrest, conflict, and violence, Parashuram viewed himself as the Earth's protector each time he eliminated an unjust Kshatriya.
As a result of his penance, Parashuram obtained an axe, with which he vowed to eliminate all heretical Kshatriyas. He targeted those Kshatriyas who abused their power, deviated from the path of righteousness, or angered him in some way. His axe became a symbol of his resolve to punish and remove those who misuse their authority and acted against the principles of dharma.
Indeed, the legend of Parashuram has not been forgotten, nor has the remarkable power of his rejuvenation well. His legend is intertwined with the history and heritage of Mahasthangarh. According to whispers of legend, during the twelfth century, Parashuram ruled over Mahasthangarh in Bengal. The ruins of his palace can still be found nearby, and right beside the palace lies the famous Jiyon Kund or Jiyon Kupa, the well whose water was said to bring the dead back to life.
After defeating Parashuram in battle, Mahiswar captured the fortress of Pundranagar. Parashuram’s daughter was Shila Devi, a woman renowned for her exceptional beauty and virtues, highly praised by all around. Mahiswar intended to take her along with other captives. Shila Devi, however, preferred death over the loss of her honor at the hands of the invaders. Thus, she chose a dignified death over a life of dishonor.
When the sounds of battle ceased and the captives were to be taken away, Shila Devi made a final prayer to the Creator and slowly descended into the waters of the Karatoya River. There, she submerged herself, choosing self-sacrifice over dishonor. The spot where Shila Devi gave her life is still known today as Shila Devi's Ghat. In some accounts, Shila Devi is also referred to as Parashuram’s sister rather than his daughter.
The sacred Shila Devi's Ghat is revered by many Hindus as a place of great spiritual merit. Every year, on the 10th day of the Shukla Paksha (waxing phase) of the month of Jyestha, a holy bath is performed at the ghat. Devotees come to the waters of the Karatoya River to cleanse themselves of sins and seek purification. In addition, every twelve years, a special sacred bathing ritual known as Poush Narayani Yoga is held at the ghat. It is believed that taking a bath at the Karatoya Ghat and observing a three-night fast can bestow merit equivalent to performing the ancient Ashwamedha Yagna.
If there is uncertainty about the historical existence of Parashuram, then the existence of Shila Devi is also subject to doubt. According to an alternative origin story, the ghat may have been used in ancient times for unloading and storing numerous stones brought by river transport. Over time, the name evolved to "Shila," meaning "stone" or "rocky place," which could have eventually transformed into the name Shila Devi and Shila Devi’s Ghat.
The area around Shila Devi's Ghat, and throughout Mahasthangarh, is rich with legends and a blend of historical and mythical elements, leaving behind numerous archaeological traces. One such site connected to Bengali folklore is ‘Lakshindar’s Mela,’ associated with the famous characters Behula and Lakshindar. On the west bank of the Karatoya River, there is also the Skandhamandir, or Skandher Dhap, tied to other legendary narratives.

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āĻ•āĻŋāĻ‚āĻŦāĻĻāĻ¨ā§āϤāĻŋ āĻŦāϞ⧇, āϰāĻžāϜāĻž āĻĒāϰāĻļ⧁āϰāĻžāĻŽ ‘āύāϰāϏāĻŋāĻ‚āĻš āĻĒāϰāĻļ⧁āϰāĻžāĻŽâ€™ āύāĻžāĻŽā§‡ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āĻ›āĻŋāϞ⧇āύāĨ¤ āĻāχ āύāĻžāĻŽā§‡āϰ āĻĻ⧁āϟāĻŋ āĻ…āĻ‚āĻļ, āĻ…āĻ°ā§āĻĨāĻžā§Ž ‘āύāϰāϏāĻŋāĻ‚āĻšâ€™ āĻ“ ‘āĻĒāϰāĻļ⧁āϰāĻžāĻŽâ€™ āωāĻ­āϝāĻŧ⧇āχ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŦāĻŋāĻˇā§āϪ⧁āϰ āĻ…āĻŦāϤāĻžāϰāĨ¤ āĻ āĻĨ⧇āϕ⧇ āĻŽāύ⧇ āĻĒā§āϰāĻļā§āύ āϜāĻžāĻ—āĻž āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ•, āϤāĻŦ⧇ āĻ•āĻŋ āĻŽāĻšāĻžāĻ­āĻžāϰāϤ-āϰāĻžāĻŽāĻžāϝāĻŧāϪ⧇āϰ āĻĒāϰāĻļ⧁āϰāĻžāĻŽ āφāϰ āϰāĻžāϜāĻž āĻĒāϰāĻļ⧁āϰāĻžāĻŽ āĻāĻ•āχ? āφāĻĻ⧌ āĻ•āĻŋ āϰāĻžāϜāĻž āĻĒāϰāĻļ⧁āϰāĻžāĻŽ āĻ›āĻŋāϞ⧇āύ?
āĻāĻ•āϟāĻŋ āĻ—āĻ˛ā§āĻĒ āĻ…āύ⧁āϝāĻžāϝāĻŧā§€, āĻ–ā§‹āĻĻ āĻĒ⧃āĻĨāĻŋāĻŦā§€ āĻāĻ•āĻŦāĻžāϰ āĻāĻ•āϟāĻŋ āĻ—āĻžāĻ­ā§€āϰ āϰ⧂āĻĒ āϧāĻžāϰāĻŖ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻŦāĻŋāĻˇā§āϪ⧁āϰ āĻ•āĻžāϛ⧇ āύāĻŋāĻœā§‡āϰ āĻĻ⧁āσāĻ–-āĻĻ⧁āĻ°ā§āĻĻāĻļāĻžāϰ āĻ•āĻĨāĻž āϜāĻžāύāĻžāϝāĻŧāĨ¤ āϤāĻ–āύ āĻŦāĻŋāĻˇā§āϪ⧁ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϕ⧇ āφāĻļā§āĻŦāĻžāϏ āĻĻ⧇āύ, āϤāĻŋāύāĻŋ āĻĒāϰāĻļ⧁āϰāĻžāĻŽ āĻšāϝāĻŧ⧇ āϜāĻ¨ā§āĻŽāĻ—ā§āϰāĻšāĻŖ āĻ•āϰ⧇ āĻāχ āĻĻ⧁āσāĻ–-āĻĻ⧁āĻ°ā§āĻĻāĻļāĻž āĻĻā§‚āϰ āĻ•āϰāĻŦ⧇āύāĨ¤ āĻšāϤ⧇ āĻĒāĻžāϰ⧇, āĻāχ āĻĒā§āϰāϤāĻŋāĻœā§āĻžāĻžāϰāχ āĻĢāϞ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒāϰāĻļ⧁āϰāĻžāĻŽ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϕ⧇ āĻāϕ⧁āĻļāĻŦāĻžāϰ āĻ•ā§āώāĻ¤ā§āϰāĻŋāϝāĻŧāĻļā§‚āĻ¨ā§āϝ āĻ•āϰ⧇āύāĨ¤ āϝ⧇āĻšā§‡āϤ⧁ āĻ•ā§āώāĻ¤ā§āϰāĻŋāϝāĻŧāĻĻ⧇āϰ āϝ⧁āĻĻā§āϧ⧇āϰ āĻĢāϞ⧇āχ āĻĒ⧃āĻĨāĻŋāĻŦā§€āĻŽāϝāĻŧ āĻŦāĻšā§ āĻ…āĻļāĻžāĻ¨ā§āϤāĻŋ, āĻšāĻžāύāĻžāĻšāĻžāύāĻŋ, āĻšāĻ¤ā§āϝāĻž āϘāϟāϤ⧋, āϤāĻžāχ āĻĒā§āϰāϤāĻŋāĻŦāĻžāϰ āϕ⧋āύ⧋ āĻ…āĻ¨ā§āϝāĻžāϝāĻŧāĻ•āĻžāϰ⧀ āĻ•ā§āώāĻ¤ā§āϰāĻŋāϝāĻŧāϕ⧇ āĻšāĻ¤ā§āϝāĻžāϰ āϏāĻŽāϝāĻŧ āĻĒāϰāĻļ⧁āϰāĻžāĻŽ āύāĻŋāĻœā§‡āϕ⧇ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϰ āϰāĻ•ā§āώāĻžāĻ•āĻ°ā§āϤāĻž āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĻ⧇āĻ–āϤ⧇āύāĨ¤
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āϤāĻŦ⧇ āĻ•āĻŋāĻ‚āĻŦāĻĻāĻ¨ā§āϤāĻŋ āĻĒāϰāĻļ⧁āϰāĻžāĻŽāϕ⧇ āĻ­ā§‹āϞ⧇āύāĻŋ, āĻ­ā§‹āϞ⧇āύāĻŋ āϤāĻžāϰ āĻœā§€āϝāĻŧāύ āϕ⧂āĻĒ⧇āϰ āφāĻļā§āϚāĻ°ā§āϝ āϜāĻžāĻĻ⧁āĻļāĻ•ā§āϤāĻŋāϰ āĻ•āĻĨāĻžāĻ“āĨ¤ āϤāĻžāϰ āĻ•āĻŋāĻ‚āĻŦāĻĻāĻ¨ā§āϤāĻŋ āϜāĻĄāĻŧāĻŋāϝāĻŧ⧇ āφāϛ⧇ āĻŽāĻšāĻžāĻ¸ā§āĻĨāĻžāύāĻ—āĻĄāĻŧ⧇āϰ āχāϤāĻŋāĻšāĻžāϏ, āϐāϤāĻŋāĻšā§āϝ⧇āϰ āϏāĻžāĻĨ⧇āĨ¤ āĻ•āĻŋāĻ‚āĻŦāĻĻāĻ¨ā§āϤāĻŋāϰ āĻĢāĻŋāϏāĻĢāĻŋāϏāĻžāύāĻŋāϤ⧇ āĻļā§‹āύāĻž āϝāĻžāϝāĻŧ, āĻĻā§āĻŦāĻžāĻĻāĻļ āĻļāϤāϕ⧇āϰ āĻĻāĻŋāϕ⧇ āĻŦāĻžāĻ‚āϞāĻžāϰ āĻŽāĻšāĻžāĻ¸ā§āĻĨāĻžāύāĻ—āĻĄāĻŧ⧇ āϰāĻžāϜāĻ¤ā§āĻŦ āĻ•āϰāϤ⧇āύ āϤāĻŋāύāĻŋ, āĻāĻ–āύ⧋ āϖ⧁āρāϜāϞ⧇ āĻŽāĻŋāϞ⧇ āϝāĻžāϝāĻŧ āϤāĻžāϰ āĻĒā§āϰāĻžāϏāĻžāĻĻ⧇āϰ āĻ§ā§āĻŦāĻ‚āϏāĻžāĻŦāĻļ⧇āώāĨ¤ āφāϰ āϏ⧇āχ āĻĒā§āϰāĻžāϏāĻžāĻĻ⧇āϰ āĻ āĻŋāĻ• āĻĒāĻžāĻļ⧇āχ āϰāϝāĻŧ⧇āϛ⧇ āϏ⧇āχ āĻœā§€āϝāĻŧāύāϕ⧁āĻŖā§āĻĄ āĻŦāĻž āĻœā§€āϝāĻŧāύāϕ⧂āĻĒ, āϝ⧇ āϕ⧁āϝāĻŧā§‹āϰ āϜāϞ āĻŽā§ƒāϤ āĻŽāĻžāύ⧁āώāϕ⧇ āĻĒā§āϰāĻžāĻŖ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āĻĻāĻŋāϤāĨ¤
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