DIWALI: FLAMES OF LOVE
Gleaming Festivities
(with special reference to Mauritius)
The whole world celebrates light in one form or the other although the time for its celebration and name differ. The word ‘Diwali’ is derived from the Sanskrit ‘Deepavali’ (‘deep’ meaning light and ‘avali’ means a row of light).
So, let there be Light
Let there be thousands of lights
Let the lights twinkle and shine
Gleam and glitter, flicker and glow
Let the little diya, frail as it looks
Lead us kindly on our life’s journey
And inspire in us the desire to serve,
To wipe a tear from a neighbor’s eye,
To kindle a smile on the face of a child,
And light the lamp of love in man’s heart!
Mankind was blessed by God with the magnificent gift of light — the radiant splendor of the sun.
However, as the day came to an end and the sun retreated beyond the horizon, darkness enveloped the world, carried by the wings of night.
For a long time, humanity lived in fear of this darkness, which invaded the world and reigned supreme with its thick obscurity.
Then, one day, man discovered fire — an invaluable tool that helped him conquer the impenetrable veil of the night.
During ancient times, our ancestors invented containers to hold this fire, leaving behind numerous artifacts that testified to their methods of illumination.
From the Bronze Age onward, people crafted lamps using materials like stone, terracotta, and metal. These lamps took the form of open or closed containers, with one or more spouts designed to hold a wick. Closed lamps often featured filling holes, usually situated at the center of a bowl that formed a funnel.
These early lamps served as a source of light from prehistoric times until the Middle Ages. Eventually, foot or hanging lamps, inspired by the Romans, came into use.
Over time, people continued to innovate and create lamps using various available materials, such as stone, crystal, and metal. Yet, his quest for a perfect solution remained unsatisfied.
It was then that man had a brilliant idea — to turn once again to Mother Earth, the nurturing and generous provider who had always bestowed her bounties upon him.
The convergence of Earth and the creative hands of man led to the birth of pottery — an art that embodied the very essence of creativity itself.
With clay shaped by skilled hands, the potter presented the world with the humble earth lamp — a lamp that, from its inception, became mankind’s most loyal and warmest companion.
The art of pottery reached the soil of Mauritius with the arrival of Indian Indentured Immigrants in the early 19th century.
Before their displacement from their villages, these immigrants were already using earthen vessels for daily activities and religious ceremonies.
Upon reaching their new home on the island, they carried on the tradition of earthen pottery. Some even chose to pursue pottery as their profession.
As a result, earthen jars stored seeds, oil, and flour, following ancestral customs. Clay jugs provided water, and regardless of wealth, all houses were illuminated by indispensable earthen lamps.
The earliest earthen lamps in Mauritius played a significant role in the lives of the Indian community on the island.
In ancient Indian villages, every Hindu home would invariably light two small earthen lamps at dusk. These lamps, known as diya or deepak, held special positions in the house. One was lit inside to honor the kul devta (the deity protecting the family), while the other was placed in the house courtyard for the griha devta (the deity safeguarding the home). Only after this ritual were the remaining lamps in the house lit.
The lighting of an earthen lamp during the twilight hours, known as sanjha or evening prayer, was a sacred ceremony symbolizing the arrival of Lakshmi (the Goddess of prosperity) into the household.
Even today, some Hindu households continue this tradition, although the earthen lamp has become less common.
Historical accounts also tell us that when there was a shortage of clay lamps in the 19th-century village settlement, especially during the demand surge leading up to the Diwali festival, villagers would find resourceful alternatives. Banana flower petals, with their suitable shape, effectively replaced the diyas. Additionally, papaya halves, are hollowed out, filled with oil, equipped with a wick, and repurposed as lighting utensils.
Over time, oil lamps evolved from simple bowls filled with oil and a floating wick to deep tanks with reduced upper openings and vertical handles.
These lamps remained in use in rural areas until the nineteenth century. However, numerous other types of lamps quickly emerged in the market, including resin, tallow candles, wax and paraffin candles, lanterns, oil quinquets, kerosene lamps, cobble lamps, storm lamps, gas nozzles, and gasoline lamps (also known as Pigeon lamps), among others.
Nevertheless, even in rural regions, small earthen lamps continued to be lit for a considerable period.
Electric lighting arrived in the first half of the twentieth century, and with the electrification of the island, the use of diyas became limited to religious ceremonies.
While the art of pottery still survives, albeit rarely, in Mauritius, it is primarily practiced within the context of the Hindu religion.
As noted by Pliny the Elder, “Offerings are placed not in vessels of precious stones or crystal but of terracotta to symbolize the abundance and fertility of the earth.”
Today, diyas are often crafted using more durable materials like bronze, copper, or silver. Ceramic diyas manufactured in factories have also gained immense popularity. Nevertheless, the traditional terracotta diya continues to exude charm and fulfill its purpose.
The journey of the diya, seemingly ordinary, is imbued with love and significance. From a simple lump of earth on the potter’s wheel, it transforms into a humble little lamp, passing from merchant to merchant until it finds a cherished place in a home.
Its magnificence is celebrated during the most important occasions, and no religious ceremony is complete without its presence.
Hence, the diya establishes a connection between man and the divine, symbolizing the triumph of light over darkness, good over evil, and life over death.
Therefore, let us celebrate Light in all its manifestations.
From Unreality lead me to Reality
From darkness lead me to the Light,
From death lead me to Immortality.
{Brihadaranyaka Upanishad I, 3, 28.}
