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滨苍迟谤辞诲耻肠迟颈辞苍鈥�Billeswar Devalaya is a place for religious rites in concord with the longstanding traditions, local mores, and discussing social issues and resolving disputes. The Legacy of all these things may be traced since the erection of the Devalaya since 6^th century by the Koch King Nagakhya of Lohitya State. The historicity of the Devalaya from 6^th century to the 16^th century cannot be found in the chronological order. The most remarkable prehistoric classics like Jogini Tantra and Kalika Puran illustrates nothing about the Billeswar Devalaya. But it is relevant to say that the name of the Hillock Bilwashri where the Shivalinga was traced out by the original priest Rupnarayan Dev inhabiting on the same is believed to be mentioned in the Jogini Tantra by a section of erudite people involved with priesthood. But it is not found in the latest edition of Jogini Tantra in Assamese language. At the same time the study reveals that the religious traditions always found to comply with the scriptures of the Jogini Tantra. The rituals of different types of worships done in the temple are followed by the priest in concord with the instruction contained by the Kalika Puran. The legacy of the Billeswar Devalaya is deeply rooted in the Vedic and Tantric traditions. This fact is extracted by the consistent interaction with the interns of the Devalaya and exclusive interviews with the former personalities attached with the Billeswar Devalaya activities.

Historical records in regard of the principle royal dynasties of early Assam primarily associated with the Saivaite culture. In Kamurapa Sasanavali there are mentions of ten copper plates by seven Hindu kings during 7^th to 12^th centuries. Eight of ten copper plates refer to land grants, say about the devotion to Shiva by the royal dynasties. This legacy may be obviously linked with Billeswar Devalaya. (Kakati: 2004:10)

Customs and Rituals of Billeswar Devalaya鈥擟ustoms that have acquired considerable magical and sacred potency are known as rituals. The participation of large social units in public performances and entertainments leads to another kind of social folk custom to which the terms festival and celebration generally apply, Music, Dance, costume, floats and processions may all enter into festivals, which are based on both religious and secular traditions. Certain games and recreations, or sports and pastimes as Joseph Strutt called them in his pioneering work on the subject, are learned through tradition rather than by codified rules and regulations. (Dorson:1972:3-4)

According to the Yogini Tantra鈥攁 16th or 17th century tantric text composed by Ram Chandra Barpatra (a tantric poet of ancient Kamrup State)鈥攖he entire religion of Kamrup is itself described as Kirata Dharma. Though it is a religious text dedicated to the worship of Hindu goddess Kali and Kamakhya; however, it gives historical information. In addition to that, Kalika Purana鈥攐ne of the eighteen Upapuranas which is supposed to be composed in ancient Kamrupa which is Assam in present times narrates the Shaktism tradition of Hinduism. The text is attributed to the sage-Markendeya and starts off with the legends of Devi trying to bring Shiva back from ascetic life to domestic life by compassion and love once again. Both the ancient religious treatises are being considered by the scholars as the sources of justifying the legacy of the religious traditions of Assam. Since the ancient times, India is a place for development and expansion of the women energy. The four Vedas: Rigved, Jajurbed, Sambed and Atharbaved are the original sources of Hindu religion. On the basis of the scriptures laid down on the pages of the four classics-the Indian traditions are set timelessly. The influence of the classics is being realized through the oral transmission. Though the original elements are kept intact, its modification and contextualization are found everywhere. Traditions are being observed by the people at personal levels and social levels also.

Festivals are the external expression of social behavior. Scholars like Jacob Grimm, Max Muller, Andrew Lang, Wilhelm Mannhardt, James Frazer and so on made attempts to beliefs, primitive and magical rituals with the modern festivals. We can assume that the tradition of the modern festivals emanated from the beliefs and magical rituals of the ancient community. The ancient community performed those magical rituals to make the days grow longer, to expel severe cold, to appease deities of the fields and forests as well as sky and water. They also performed magical rituals to satisfy the rain god or to appease the deadly deities of diseases and to appease the malevolent dead and to appease the village ghosts as well. Even the ancient community solemnized those magical rituals to promote fertility. William H. Hendelson rightly observes that festivals held by the primitive people consisted of collective magic or religious rites for propitiation of evil spirits and invocation of friendly supernatural powers, and were held on such occasions as the admission of new members to a tribe, disposal of the dead; and preparations of fishermen for the catch, hunters for the chaste and warriors for battle. A communal meal was usually a part of the festival. The development of agriculture was accompanied by new festivals, also consisting of magical religious rituals, in connection with the seasons. Planting and harvesting were important festive occasions. Bilweswar

Devalaya is also not far away from this fact.

During the regime of Koch Dynasty, since after its erection, worships to the deities were arranged. From that period, Durga Puja also was in vogue. Besides the regular practices of worshipping, offering of daily non-vegetarian Bhog to Lord Shiva was an integral part of the Devalaya activity. The castrated goat, Pigeon, Fish etc. were the primary components of the offerings which were mixed with the Bhog. As this practice of sacrificing buffalo, goat, duck, pigeon etc were started first, this practice is continuing till date. In reverence to the patronizing king, still, a custom of 搁补补箩-贬补谤颈诲丑补苍颈鈥�royal benediction is in practice aspiring well being of the departed souls of them.

In accordance with pujaris of the Devalaya, two types of Puja are performed in Billeswar Devalaya鈥�(1)Tantric and (2) Pauranic. 

The rites and rituals of tantric puja are extracted from the Tantric classic鈥�Brihat Tantrasara. The tantric pujas 补谤别鈥�

1. Shivratri, 
2. Kali Puja, 
3. Janmastami, 
4. Lakshmi Puja and 
5. Alakshmi Puja. 

The puranic pujas are:

1. Durga Puja and
2. Dol Puja.

1 Chanting of Sloka

The chanting of Sloka is an inevitable item during every kind of worship in the Billeswar Devalaya, like others. The chief deity of the Billeswar Devalaya is Lord Shiva. And the others are: Lord Ganesha, Lord Vishnu, Maa Kali, Goddess Durga and Kamaladevi. The rituals of worshiping the deities in Billeswar Devalaya are extracted from both Vedas Puranas and Tantras. Majority of the Slokas used in the pujas of Billeswar Devalaya are enshrined in the Brihat Tantrashar. The greatest religious event that takes place in Billeswar Devalaya is Durga Puja. The Durga Puja rituals are maintained as per the scriptures of Kalika Puran.

2 Aarati

Every evening Aarti is performed by a bardeuri of the Devalaya. As I have seen the performance I prefer to say it as a religious exercise. Aarti comes from the Sanskrit word Aratrika that implies something that evacuates Ratri. Arati is also believed to be derived from Aaraartikyam-a Sanskrit word. Aarti is said to have plummeted from the Vedic idea of flame customs, or Hom. Aarti is such a performance by which so many elements are allowed to symbolize together the human existence. They are: solidity, liquidity, heat, movement, space, intelligence etc., are presented. One's whole presence and all aspects of material creation are emblematically offered to the God, Goddess and Lord through the act of Aarti.

3 Raj-Haridhwani鈥擱oyal Benediction.

There is a sound tradition in the Billeswar Devalaya since its erection, of the voicing of Raj-Haridhwani after performance of regular day and evening pujas, after the act of Sayan Dia to the deity. The connotation of Raj-Haridhwani is that the Haridhwani meant for the Raja who patronized the Devalaya prompting its erection and repair. It is an unbroken tradition of the Devalaya dedicated to the patronizing Kings for their wellbeing even after their rest in abode. It is the acute sense of gratitude shown to the patrons. The Raj-Haridhwani is performed together by the priests, Daloi, and other associates and present public usually. It may be said as an oral concert of blessings. The ethics of this tradition is being maintained even today by the priest community of the Devalaya. Moreover, that Raj-Haridhwani may be considered as a folk utterance of the Devalaya along with chanting of the mantras and oral blessings given to devotees.

4 Ulka Daan

The ritual of Ulka Daan is performed just before the start of Kali Puja in Billeswar Devalaya. It is informed to be performed in Kamakhaya temple also. A raft is made of banana plant which is loaded with Sarai, saki, Dhup, Phul, Belpat, Mas Bhat, Doi Mah Ghee etc. They are set fire upon the the raft. It is allowed to float in the Dewan Pukhuri. The main priest of the Devalaya performs the ritual. It is a ritual derived from cultivation cult which indicates the involvement of the cultivators with the Devalaya.