The craftsmanship involved in creating the clay idols of the Shakta deities, their religious connotations, and the artist's perfect portrayal combine to give this festival a unique character.

Each idol seems to evoke a powerful invocation of energy, instilling a sense of peace and strength deep within the hearts of the people.

Every idol has an artistic design, a variety of imagination, religious discourse, and deep understanding of the scholars, which help entertain innumerable people.

This syncretism is evident in the worship practices, where deities from both Vaishnava and Shakta traditions are honored, and in the transformation of the festival over centuries.

[7][8] But as potters from other regions—especially under the patronage of local royalty, such as Maharaja Krishnachandra, settled in Nabadwip, clay idol worship gradually took root.

In the 17th century, after the renowned Tantric scholar of Nabadwip, Krishnananda Agamavagisha composed the Brihat Tantrasara, the worship of Kali began to spread in Bengal.

However, with the beginning of Shakta Ras, these Kali pujas also started being celebrated on the Purnima (full moon) night of the month of Kartik.

These pujas lend antiquity to the Shakta Ras festival of Nabadwip..[14] In the early 16th century, some Vaishnavite scholars started the Vaishnavic movement.

In his book Sekaler Daroga Kahini (published 1888 AD), he wrote various socio-cultural reports along with the geographical location of the Nabadwip of that time.

He wrote, During Ras Utsav, people gathered in Shantipur, and similarly, large crowds would come to Nabadwip to witness the "Pot Puja" and enjoy various cultural programs.

He wrote,[17] Superpower of Hindu mythology, Devi Bhagabati has been worshipped in different form in Nabadwip during Ras Purnima.

Cartoonist Chandi Lahiri remarked about the glory of the Mūrtis worshiped in Nabadwip Rash jatra,[18] In the idols of Nabadwip, the preservation of balance within each part, even amidst their enormity, and the realization of various deities' classical imagery through clay, are simultaneously a marvel and a source of pride for any country in the world.

Dr. Sudhir Chakraborty, educationalist and recharcher of Bengali Folk culture, wrote about the potters of Nabadwip - "The sculptor's skill in shaping the statue's form is beyond question...

The potters of Chandannagar can create massive Jagaddhatri idols, but they lack proportional harmony, often concealed by the extravagance of "Daker Saj" (Sholapith) decorations.