In Bengal Kojagori Lokkhi puja is done in the Ashwin Sharad Purnima, the first full moon after the autumnal durga puja. Extensive preparations are made to please the Goddess Lakshmi and prasad is distributed to devotees at the end of worship with the special preparation of assorted Narkel Naru made with coconut. Alpana is painted in footprints with alta in the homes. Women generally fast during the day.
Lakshmi is represented wearing a red sari seated on a lotus, dressed in sparkling clothes and jewels and has a benevolent attitude and a maternal aspect. She is surrounded by two white elephants. She is venerated by Ganesha.
Lakshmi is worshiped by offering flowers, fruits and sweets along with puspanjali. Kojagori or Ko jagrati, means, the one who is awake. Devotees believe Lakshmi comes at night with wealth, and knocks the door of the house and the one remaining awake is entitled to the treasures. Lakshmi is the presiding deity of fortune and wealth with the owl being her bahan. Almost every Hindu household worship Lakshmi in the evening. Lakshmi is the consort of Vishnu and the mother of Kamadeva.
Lakshmi is often referred to with the attribute of Shree in Shree Sukta, added to the Rig Veda between 1000 and 500 BC and is referred to at the time of the war between the Devas and Asuras during the Samudra Manthan.
Her Roman equivalent is the goddess Fortuna. Lakshmi does not find a clear characterization even examining the ancient sources, who was later identified with the Anatolian Cybele, the Gallic Rosmerta, as well as with the Greek Demeter, Rea and Tyche.
Such multiplicity of figures can be largely attributed to the fact that the archaic Indie cult, rather than being polytheistic, thought to many of the divine kind essences the invoked beings the faithful did not know much more than the name, functions, and the numen of these beings, i.e. their power, that manifested itself in highly specialized ways.
Since the cultivation of land and harvesting of the crops occupied a central role in the life of that time, it follows the interest, the profusion of rituals, ways of prayer and even the number of cited figures.