Category Archives: d. Saktism

a) Kali, b) Tara, c) Tripura Sundari, d). Bhuvanesvari, e) Bhairavi, f) Chinnamasta, g) Dhumavati, h) Bagalamukhi, i) Matangi, j) Kamala, The Ten Mahavidyas

The Ten Mahavidyas

When discussing the ten Mahavidyas, it may seem like a daunting task to understand how goddesses, one with a garland of skulls, another with clothing made of severed body parts, and a third with a habit of cutting off her own head, can be highly regarded within the Hindu tradition, but they are. These obscure beings are regarded as being significant to the basic themes of Hindu beliefs and spirituality (Kinsley 1998:1). “It seems that there is logic to the group as a whole and that even its most outrageous members, if understood within their proper context, reveal important spiritual truths” (Kinsley 1998:1). The idea of this group of ten goddesses has been around since the early medieval period (Kamakala-khanda 65-66); specific goddesses within this group even predate this time and continue to be well known in the present day.

The origination of the ten Mahavidyas is not always agreed upon. Some say that the ten Mahavidyas as a whole seem to be “a medieval iconographic and mythological expression of an aspect of Mahadevi theology” (Kinsley 1986:161). There are numerous myths about the Devi in which she is described as producing these goddesses from different parts of her body (Vamana-purana 30.3-9). The Devi is thought to assume these different incarnations in an attempt to maintain cosmic stability (Devi-mahatmya 11.38-50).

“The ten Mahavidyas, at least in part, are probably a Sakta version of the central Vaisnava idea of Visnu’s ten avataras, who appear from time to time to maintain the order of dharma” (Sircar 48). The Guhyatiguhya-tantra confirms this idea by providing a list of the Mahavidyas and associating each one with a corresponding avatara of Visnu (Kinsley 1986:161). However, the ten Mahavidyas are much more than a Sakta representation of Visnu’s avataras; they display significant contrast from the avataras in respect to their appearance and function (Kinsley 1986:161-162).

The context of the story of Sati and Siva is where the true myth of the ten Mahavidyas’ origin arises. Daksa, Sati’s father decides to perform a notable sacrifice and invites every one that resides in the heavenly spheres to attend. That is, everyone aside from his daughter and her husband Siva. Daksa disapproves of Siva’s unkempt appearance and uncivilized behavior and does not want him to taint the legitimacy of the affair (Kinsley 1986:162). Sati is outraged and makes the decision to interrupt the sacrifice, but Siva forbids her to do so. Sati becomes furious, and as she loses her temper, she embodies an appalling form before eventually transforming and multiplying into ten forms, the ten Mahavidyas (Kinsley 1986:162).

Kali, “the black goddess”, is a perfect example of a goddess that is known outside of the goddess cluster. Although the order, names, and number of the Mahavidyas can vary according to different sources, Kali is always included, and is typically named first. Kali is commonly referred to as the most important or primary Mahavidya (Woodroffe 361). In some occurrences, it appears that the rest of the Mahavidyas originate from Kali, or are in some way differing embodiments of her (Kinsley 1998:68). Descriptions of Kali are altered depending on which account is being looked into, but sources tend to agree on several characteristics. Kali is almost always regarded as being a dark presence with a dreadful appearance. She is considered to have four arms, but what they hold are not always agreed upon (Kinsley 1998:67-68). Some sources cite Kali as holding a bloodied cleaver and a severed head in her left hands, while her right hands gesture blessings and a symbol of “fear not” (Kinsley 1998:9). Others say that along with holding a severed head, she carries a jar full of liquor mixed with meat (Kinsley 1998:68). She is commonly regarded as being horrific looking, covered in blood and body parts. Whatever her description, Kali has taken her place as the primary Mahavidya. The Saktisamgama-tantra explicitly says, “All the deities, including the Mahavidyas, Siddhi-vidyas, Vidyas, and Upa-vidyas, are different forms that Kali assumes” (Bhattacharyya & Dvivedi 7-8). Several authorities then view Kali as a symbol of ultimate reality; she truly reveals the nature of fully awakened consciousness (Kinsley 1998:79).

When the Mahavidyas are listed, Tara is typically immediately listed after Kali. This placement would suggest a proposal of importance to the group. Her physical appearance is indeed the most similar to Kali among all the other Mahavidyas; the significance is often interpreted as being comparable to that of Kali. There is a great possibility that the Hindu Mahavidya Tara was developed from the Buddhist bodhisattva Tara, but whereas the Buddhist Tara is often known as being compassionate, the Hindu Tara is almost always fierce, dangerous, and terrible to witness (Kinsley 1998:92). Tara is frequently described as having three bright red eyes. (Kinsley 1998:98). Much like Kali, Tara is often depicted as having a sword and a severed head in her hands; Tara also wears a garland of skulls around her neck (Rai 179-180).

Tripura-sundari is typically listed third, following Kali and Tara in the list of the Mahavidyas. Her name translates to “She who is lovely in the three worlds” (Kinsley 1998:113). She is listed under multiple names, but is also said to be a primary Mahavidya, suggesting that she represents absolute reality. Tripura-sundari’s dhyana mantra portrays her as such: “She shines with the light of the rising sun. In her four hands she hold a noose, a goad, arrows, and a bow” (Unknown 193).

Bhuvanesvari, literally “she whose body is the world”, comes next on the list of the Mahavidyas. Bhuvanesvari is linked with the earth and with creation and is thought to be the underlying energy of it all (Kinsley 1998:131). She embodies the dynamics of the world as we know it. “In this sense…she is identified with the mahabhutas (the basic physical elements) and prakrti (nature or the physical world)” (Kinsley 1998:131). Bhuvanesvari, apart from being included in the Mahavidyas, does not appear to have a widespread following of her own (Kinsley 1998:131).

“The self-decapitated goddess” Chinnamasta is also best known for her involvement in the Mahavidyas, and does not have much of an individual following. Chinnamasta is illustrated holding her own amputated head in one hand, with a sword in the other, drinking her own blood, which is spilling from her neck (Kinsley 1998:144). Although early references to Chinnamasta have not been located, there are accounts of goddesses that are suggested to be prototypes of her, displaying familiar characteristics such as being headless, bloodthirsty, and violent (Kinsley 1998:146).

Bhairavi translates to mean “the fierce one”. She wears red clothing and is adorned with a garland of severed heads; her body is smeared with blood (Kinsley 1998:167). A hymn from the Sarada-tilaka describes Bhairavi as being in a position that oversees and proceeds over the three male deities that are typically associated with creation. She is considered to be separate from the gods and even surpassing them. This emphasis is quite common in many hymns regarding goddesses, especially in the cases pertaining to the Mahavidyas (Kinsley 1998:169). Bhairavi also assumes the role of an educator and creates the Vedas through her wisdom (Kinsley 1998:169).

Dhumavati is known as the widow goddess. She is typically depicted as being ugly, upset, and disheveled; her hands shake and her eyes are full of concern (Kinsley 1998:176). She symbolizes the painful and more burdensome aspects of life (Kinsley 1998:181). Outside of the Mahavidyas, virtually nothing is known about Dhumavati.

Bagalamukhi can be referred to as “the paralyzer”. She emits a grim disposition and is heavily intoxicated. Her complexion is completely golden, embellished by her yellow dress, ornaments, and garland (Kinsley 1998:193). Bagalamukhi is associated with having magical powers. Her devotees are said to reap the rewards of her powers (Kinsley 1998:199-200).

The Goddess Bagalamukhi (one of the Ten Mahavidyas) (Temple Painting, Patan, Nepal)

Matangi is considered to be the “outcaste” among the other goddesses within this cluster. A particular myth pertaining to Matangi touches on the idea of being polluted by associating with the Candalas, or “the untouchables” (Kinsley 1998:217).

Kamala, the final goddess of the Mahavidyas, is known as “the lotus goddess” (Kinsley 1998:223). Kamala is none other than the goddess Laksmi. Among all of the goddesses included in the ten Mahavidyas, Kamala is the most popular and well known. She is “a goddess with almost completely auspicious, benign, and desirable qualities” (Kinsley 1998:225). Kamala is often identified with a variety of blessings that humans ordinarily seek, such as power, luck, wealth, and safety (Kinsley 1998:225).

Even though a couple of the goddesses are presented as being beautiful and harmless, the context of their origin myth makes it evident that the ten Mahavidyas are intended to be fearsome deities.  Their main objective in the myth is to scare Siva into letting Sita have her way (Kinsley 1986:163-164). This overpowering embodiment displays Sita’s assertion of power, suggesting a sense of superiority (Kinsley 1986:164). In both the Brhaddharma-purana and the Mahabhagavata-purana it is suggested that Sati appears in these forms to allow her devotees to achieve ultimate realization (moksa), and so that they may achieve their desires (Kinsley 1986:164).

The ten Mahavidyas are powerful and relevant as a group, but individually, only a select few can stand on their own and parade a widespread individual following. These primary Mahavidyas personify the concept of absolute reality and complete consciousness, which is at the heart of the Hindu tradition.

REFERENCES AND FURTHER RECOMMENDED READING

Bhattacharyya, B. and Dvivdei, Vrajavallabha (1978) Saktisamgama-tantra. Baroda: Oriental Institute of Baroda.

Gupta, Anand S. (1968) Vamana-purana. Banaras: All-India Kashiraj Trust.

Kamakala-khanda (1974) Mahakala-samhita. Allahabad: Ganganath Jha Research Institute.

Kinsley, David (1986) Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Tradition. Berkeley: University of California Press.

Kinsley, David (1998) Tantric Visions of the Divine Feminine. Delhi: University of California Press.

Rai, R. Kumar (1992) Mantra Mahodadhih. Varanasi: Prachya Prakashan.

Shankaranarayanan, S (1972) The Ten Great Cosmic Powers (Dasa Mahavidyas). Dipti Publications.

Sircar, D.C. (1973) The Sakta Pithas. Delhi: Motilal Banarsidass.

Vasudeva, S.A. (1963) Devi-mahatmya; The Glorification of the Great Goddess. Banaras: All-India Kashiraj Trust.

 

Woodroffe, Sir John (1987) Sakti and Sakta, Essays and Addresses. Madras: Ganesh & Co..

 

Related Topics for Further Investigation

Tantric worship

Kali

Tara

Tripura-sundari

Bhuvanesvari

Chinnamasta

Chairavi

Dhumavati

Bagalamukhi

Matangi

Kamala

Severed heads

Cremation grounds

Role of women

Absolute reality

Magical powers

Noteworthy Websites Related to the Topic

 

www.rudraksha-ratna.com/mahavidyas.html

www.en.wikipedia.org/wiki/Mahavidya

www.exoticindiaart.com/article/mahavidyas

Article written by: Jamie Hancock (April 2010) who is solely responsible for its content.

Other Goddesses

Sitala: The Goddess of Smallpox and Disease

Sitala is one of the many Hindu mother goddesses who are known for their benevolence and dangerousness. She is worshipped throughout the Indian subcontinent and is especially adored in the region of Bengal (Stewart 389). Sitala is commonly known as the goddess of smallpox and disease but may also be referred to as the Queen of Disease (Roga Raja), Lord of Pestilence (Vyadhi Pati), or Mother of Poxes (Basenta Raya) (Stewart 389). Her name means the “Cool One” which is thought to be derived from her mythical birth from the cooled ashes of the sacrificial fire (Stewart 390). The smallpox disease, which is now thought to be eradicated, was first identified with Sitala around the 16th century CE, although the smallpox disease was already present in India for hundreds of years prior to this (Rodrigues 329). Sitala is worshipped across different regions of India but mainly in West Bengal, Northern India and the state of Gujarat (Wadley 33). The three regions have different views about Sitala but all are linked by a few common ideas.  Sitala is always the “Cool One” and she is frequently represented by a golden pot, except in wealthy temples where she is depicted as a naked women with her hair disheveled, riding a donkey, and wielding a broom (Rodrigues 329).

Sitala is most well known in West Bengal where there are many temples and mangals, which are lengthy poems written in her honor. Throughout West Bengal she is associated with Jvarasur, the Fever Demon, and Raktabati, the one that possess the blood of servant women (Wadley 37). Sitala is worshipped during Phalgun which are the months of February to March. Krsnastami is seen by the Bengali almanac as the proper day of worship although only a few households hold pujas on this day due to the cost. Villages organize collective pujas according to the finances of the village, as well as the availability of performers that are needed to recite the mangals (Wadley 37). Sitala’s main association in Bengal is with the various forms of pox. The origin of worship of Sitala in this region was thought to come from a popular story about a kingdom that was infected with the smallpox disease. Sitala went in disguised as a beautiful woman to see the king and advised him to worship her. The people of the kingdom worshipped her and were relieved of the dreadful smallpox disease (Misra 135).

In Northern India Sitala, is associated with pox but she is also seen as the protector of children (Wadley 41). It is claimed that in a previous life Sitala was married to a Muslim emperor and was very faithful and devoted to the Hindu gods and goddesses, who was deified as Sitala in reward (Misra 135). She is worshipped during Caitra which is in the months of March and April or Baisakh the months of April and May because these months are in the hot season when the outbreak of the disease is the most prevalent. In North India Sitala is associated with stale or leftover food because she is thought to have been born of the cold ashes of the sacrificial fire. Festivals are held in her honor and are commonly termed basora which literally means “Leftover Food Worship” (Wadley 42). The people of this region prepare only cold foods on the day before the pujas and offer these to Sitala and eat only cold food themselves.

The third region, which worships Sitala is the state of Gujarat, where she is no longer associated with disease; instead she is seen as the giver of good fortune, husbands and sons (Wadley 42). The origin of the Sitala shrine in Gujarat is thought to be identified with Bariha Bapji or Babribahan of the Mahabharata (Misra 135). In this region she is not worshipped during the hot season but rather during the rainy season, Shravan, the months of July and August. In much of the literature from this area Sitala is often seen as being associated with Balia Kaka, the powerful uncle who was also worshipped when there was an outbreak of the smallpox disease (Wadley 42).

Although there are vast differences between these three regions and the ways in which they worship this goddess, there are a few similarities that link the regions together. All three of these regions believe that Sitala has seven sisters and may also have one brother who is not as well known. Sitala’s sisters are known as Masani, Basanti, Maha Mati, Polamde, Lamkaria, and Agwani and are all associated with one of the seven types of fevers that are prevalent in this regions.

Unlike many other goddesses, such as Parvati or Laksmi, who are usually linked with other male deities, Sitala does not have a consort (Rodrigues 280). Sitala is worshipped by all classes but she tends to get the most patronage from the poor. Although Sitala, as a mother goddess, is expected to nurture the people of India, she is usually worshipped to avoid her wrath. She is prone to anger and quick to offend any individual who disrupts the balance of hot and cold in their life or body (Wadley 45). It is believed that when this occurs she is provoked and will visit that individual leaving her mark of pox upon their body. The mark that she leaves on the body of infected individuals is often referred to as mayera daya or the grace of the mother (Stewart 390). Many faithful and devoted individuals have come to suffer from her wrath, which can be very hard to explain (Stewart 390). Some sources say that this attention is because these individuals attract her attention through the sacrifices, which causes her to want to visit these individuals in person (Stewart 390). It is said that the person who is infected with the smallpox disease becomes the abode of Sitala.

When an individual is affected by her disease many steps are taken to help that person recover, which often includes further worship to Sitala. An idol that represents Sitala is made out of the earth or cow dung and then is bathed by a holy man and the water is then given to the sick individual. Often the holy man will recite a Sitalastaka, a verse in Sanskrit which praises Sitala. When there is an individual in the house that is ill the other members of the household do not shave, there is to be no sexual intercourse, the women do not comb their hair and any women who is menstruating is not allowed to visit (Misra 136). It is thought that Sitala’s efficacy coordinated the inoculation of smallpox which produced lifelong immunity from the disease. In order for an individual to be treated at one of the many shrines of Sitala, they first had to hold a nam – rakha which is a naming of the disease ceremony. This ceremony involved taking raw sugar and placing it underneath a table where pitchers of water are placed and then a song is chanted to declare that the disease was in fact smallpox (Minsky 166). The inoculation procedure entailed scarifying an area of skin usually just above the wrist and rubbing in a paste that contained water and dried attenuated smallpox crusts (Minsky 167). Priests often would oversee the procedure if it took place at a Sitala shrine but some practiced inoculation themselves. The Priests that preside at these temples are seldom Brahmin. To ensure that the disease does not spread the individuals were placed in quarantine for twenty one days until the infectious period was over and the crusts began to fall off. The pox crusts were then collected and offered in thanks to Sitala (Minsky 167). Through these processes of inoculation the smallpox disease was seemingly eradicated.

Although the smallpox disease is thought to be eradicated the worship of Sitala still continues and this is seen as the reason why, in some regions, she has taken on different personalities that depict her as not only the goddess of disease but also the protector of children and giver of good fortune (Wadley 45). Another reason that Sitala is associated with so many different personalities is because of the changing modes of transmission of traditions and cultural practices among the Hindu religion (Wadley 34).

Bibliography

Minsky, Lauren (2009) “Pursuing Protection from Disease: The Making of Smallpox Prophylactic Practice in Colonial Punjab”. Bulletin of the History of Medicine, vol.83, No.1, pp. 164-190.

Misra, Bhabagrahi (1969) “Sitala: The Smallpox Goddess of India”. Asian Folklore Studies, vol.28, No. 2, pp. 133-142.

Rodrigues, Hillary (2006) Hinduism The eBook: An Online Introduction. Journal of Buddhist Ethics Online Books, Ltd.

Stewart, Tony (1995) Encountering the Smallpox Goddess: The Auspicious Song of Sitala. Princeton, N.J.: Princeton University Press.

Wadley, Susan (1980) “Sitala: The Cool One”. Asian Folklore Studies, vol.39, No. 1, pp. 33-62.

Related Topics

Masan

Basanti

Maha

Mati

Polamde

Lamkaria

Agwani

Jvarasur

Raktabati

Mariamman

Kali

Puja

Blood Sacrifice

Devi

Laksmi

Parvati

Related Websites

http://en.wikipedia.org/wiki/Shitala_Devi

http://www.suite101.com/article.cfm/woman_in_india/47978

http://reli350.vassar.edu/trover/sitala.html

http://www.icsi.berkeley.edu/~snarayan/anthro-pap/subsection3_4_3.html

http://www.sanatansociety.org/hindu_gods_and_goddesses.htm

Article written by: Kaitlyn Erickson (April 2010) who is solely responsible for its content.

Parvati, Siva

Siva and Parvati

There are numerous myths separately depicting Siva and Parvati, as well as being together.  As a couple, the majority of these myths can be found in the several of the Puranas, telling many tales on how Siva and Parvati came to be. Although Parvati can been seen as the reincarnation of Siva’s first wife Sati, their stories are very much different.  According to the Puranic myths of Siva and Parvati, their story begins with the demon Taraka. Taraka, the king of the demons, was oppressing the gods and creating havoc in the celestial world. The god Brahma had granted Taraka one boon. Taraka wished that no god could slay him except for the one who is born of the god with braided hair (Siva) (O’Flaherty 1975:155).

To avoid further chaos caused by Taraka, Brahma’s main concern was to find a woman or goddess who was capable of luring Siva into a sexual encounter or marriage (Kinsley 42).  This is a difficult feat because Siva is yogi who takes pleasure in tapas, which is described as a potentially destructive heat derived from extreme ascetic practices (Kinsley 42). Many texts describe Siva’s celibacy and the ongoing physical, emotional and mental battle between Kama and Siva. In one variation of this tale, Kama enters Siva’s heart where an immediate sexual desire stirs throughout his body (O’Flaherty 1973: 149). Siva is outraged by this attempt and expels Kama from his body using heat, causing Kama to leave his human form. As a last attempt, Kama shoots the arrow of desire into the heart of Siva and is immediately scorched and turned into ashes from the flame exerted out of Siva’s third eye (O’Flaherty 1973: 149). Rati, Kama’s wife who was distressed by the sight of her husband’s burnt body, started rubbing his ashes all over her body protesting that she was going to kill herself. Siva consoled her and reassured her that Kama would be reborn again, which is illustrated later on in the tale of the couple (Kramrisch 352).

Parvati whose name means “she who dwells in the mountains” was born to Himavat and Mena (Kinsley 41). According to Brahma’s plan, Parvati was born to practice austerities in order to marry Siva, and when united in marriage with Siva, their combined tapas will be so intense during love making that they would be able to create a son strong enough to destroy the demon Taraka (Kramrisch 350). In many ways, Parvati knew that they needed to be together in order to save the cosmos and everything in it; they were destined to be with each other. During the seduction of Siva, Parvati visits Siva trying to interrupt his meditations, where Siva dismisses her over and over again.  Her determination was as firm as the Mountain, her father (Kramrisch 356). She eventually leaves the palace, abandons the householder status and becomes a renouncer, much to the dismay of her mother, in order to practice austerities within the forest (Kramrisch 356 & Kinsley 43).

The austerities performed by Parvati, described in most versions of this myth, outdo many of the great sages (Kinsley 43). Eventually, her tapas generates so much heat that the universe begins to heat up, forcing Brahma to grant her a boon to acquire Siva as a husband, which is instantly rejected by Siva (O’Flaherty 1973: 153). This rejection causes Parvati to make the universe smoke which eventually frightens Siva, who is shaken from his own meditation (O’Flaherty 1973: 153). Brahma promises Parvati that Siva will come to her. Using her tapas, she heats up Siva’s seat on Mount Kailasa and Siva is forced to appear before her (O’Flaherty 1973: 153). He was swayed by Parvati and was drawn to her as an ascetic. Siva decided to test Parvati’s resolution, the intensity of her asceticism, the clarity of her mind, the purity of her devotion,

Bronze Masterpiece depicting Siva and Parvati (Patan Museum, Patan, Nepal)
Bronze Masterpiece depicting Siva and Parvati (Patan Museum, Patan, Nepal)

and her knowledge (Kramrisch 356-357). Seven sages were sent to Parvati to dissuade her from her duty and described Siva as being “naked, ferocious, dweller of the cremation grounds, the carrier of skills, a hermit, statue-like in action, a beggar, mad, fond of collecting ugly and terrible things, and inauspiciousness incarnate” (Kramrisch 357). Parvati, in response to their tests, does not deter in her mission and replies to the sages that they do not know the Great God (Kramrisch 357). Delighted with her determination and strength, they return to Siva retelling him what took place. He then goes to Parvati’s parents to ask for her hand in marriage; Parvati’s parents are honoured. The marriage ordeal is described in great detail in many variations of the myth with a common theme. During the marriage procession, Mena, Parvati’s mother sees Siva for the first time. She is outraged by his appearances and threatens to commit suicide and faints when told that the odd-looking figure in the marriage procession is her future son-in-law (Kinsley 43). He turns into something more suitable and beautiful in response to Mena’s cry.

After their marriage, Rati, Kama’s widow is said to have brought Siva to the ashes of Kama where Kama, as beautiful as before and wielding bow and arrows, emerged from the ashes (Kramrisch 363). Siva and Parvati then retreat to his mountain dwelling, Mount Kailasa, where they engage in intense sexual activity. Their lovemaking becomes so intense that it is said to have shaken the cosmos, frightening the gods (Kinsley 43). Parvati, according to Brahma’s plan, longed for a son of her own. As their lovemaking continued, the gods, in some texts, became impatient and scared of the child that would come from these two great deities. In one instance, the gods interrupt Siva and Parvati during sexual intercourse, causing Siva to spill his semen outside Parvati (Kinsley 43). This fiery, potent seed was transferred from one container to another, in many variations of the myth, where eventually it settles in a suitable place, often in the Ganges River, where it is incubated and born as the child Karttikeya.  The boon granted by Brahma to Taraka, the king of the demons, had been fulfilled and the child born of Siva seed defeats Taraka and rescues the world from utter chaos. After some time, Karttikeya finds his parents, where Parvati accepts the child as her own (Kinsley 43).

The Puranas identify Parvati’s willingness to have another child. Siva, on the other hand said ‘I am not a householder and I have no use for a son’ (O’Flaherty 1973: 211). However, Parvati still insists on having a child telling Siva that once they conceive a child he can return to his yoga, leaving all of the parental responsibilities to Parvati (O’Flaherty 1973:211). Siva yet again refuses to give into her request. Instead, in desperate want of a child, she creates Ganesa from the dirt and sweat of her body and commands him to guard the entrance of her house against any intruder (Kinsley 44). When Siva tries to enter their hermitage, Ganesa denies his entry. This infuriates Siva and leads him to decapitate young Ganesa. As a result, Parvati becomes upset and demands that Siva restore Ganesa’s life (Kinsley 44). Siva restores Ganesa to life yet with the head of an elephant and is said to have been put in charge of all Siva’s troops and heavenly attendants (Kinsley 44).

Siva and Parvati’s marriage and family life is portrayed as harmonious, blissful and calm. Some quarrels, recounted by some of the Puranic myths, occur throughout their marriage, where they leave each other for a brief period of time to practice their austerities, but eventually end up together recovering from their altercation because of the intimate love and devotion they have for each other.  Siva is a god of excesses, both ascetic and sexual, and Parvati plays the role of modifier (Kinsley 49). Much of the tension and conflict exhibited by this divine couple is identified with the concept that Parvati is Siva’s sakti, or power, which is often personified in the form of a goddess (Kinsley 49). Her role as sakti is active, in that she is sometimes identified with prakrti (nature), whereas, Siva is identified with purusa (pure spirit). Without Parvati, Siva’s power ceases to exist. Parvati’s sakti not only complements Siva, she completes him. The reason for Parvati’s existence is just that; the celestial world would not exist if it weren’t for their undying love for each other. Many metaphors illustrate this dependence on the couple as complementary opposites throughout the Purana texts. It can be argued that the two are actually one-different aspects of ultimate reality- and such are complementary, not antagonistic (Kinsley 50).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

REFERENCES AND FURTHER RECOMMENDED READINGS

Kinsley, David (1986) Hindu Goddesses. Berkeley: University of California Press.

Kramrisch, Stella (1981) The Presence of Siva. United States of America: Princeton University Press

O’Flaherty, Wendy D. (1975) Hindu Myths. London: Penguin Group

O’Flaherty, Wendy D. (1973) Siva: The Erotic Ascetic. London: Oxford University Press.

Rodrigues, Hillary (2006) Hinduism: The eBook. An Online Introduction. Journal of Buddhist

 

Related Topics for Further Investigation

Taraka

Brahma

Asceticism

Austerities

Tapas

Mount Kailasa

Kama

Puranas

Kali

Sakti

Prakrti

Purusa

Ganesa

Karttikeya

Inauspiciousness

Rati

Noteworthy Websites Related to the Topic

www.webonautics.com/mythology/shiva_parvati.html

www.lotussculpture.com/parvati1.htm

http://en.wikipedia.org/wiki/Parvati

http://en.wikipedia.org/wiki/Shiva

http://www.religionfacts.com/hinduism/deities/shiva.htm

Article written by: Rachael Collette (March 2010) who is solely responsible for its content.

a) Kali, d. Some Noteworthy Temples

The Kalighat Temple and Kali

Kalighat and Its Goddess Kali

The Kalighat Temple is a shrine to honour the Goddess Kali. Kali throughout her history has always been linked to death and destruction. Her appearance alone represents mayhem. Her hair is dishevelled, she has four arms, she is dark and blood is often depicted being smeared on her lips. In her hands she holds a cleaver and a severed head, and with her other two hands she signals peace (Kinsley 77-78). Almost all stories about Kali speak exclusively of her killing someone if not many people. Kali is said to have a tendency to become blood thirsty and even lose control. Kali represents many ideas but over them all she is considered to portray the concept of pain and sorrow, always showing that nothing can escape death but that death, to those who have released themselves from “reality”, is not the end. (Kinsley 142-145).

Kali is associated with the god Siva. Conflict between Kali and Siva is a recurrent theme in many Kali related myths. Both are said to haunt the wilderness, causing destruction or trouble in different ways. Kali in some myths is sent to slay great warriors on the battlefield. This is claimed to protect the world and others from destruction, but at times it seems like Kali is the one who is the destroyer. In one myth, the Vamana-purana, her name is interchanged with Parvati’s [Siva’s wife]. Parvati however does not like having Siva comparing her to Kali, due to her dark complexion, and rids herself of any dark attributes (Kinsley 101-108). In other stories Kali is tied to Siva not so much directly but through Parvati herself. In the Siva-Purana, it is said that all goddesses come from one goddess, Uma-Sati-Parvati. This goddess again is also claimed as Siva’s wife. Kali does not get mentioned in the same manner but later on in a retelling of a story, she is said to come from Siva’s hair (Kinsley 104).

An infamous depiction has Kali dancing on top of Siva who is laying on the ground. The story behind this is while Kali was on the battlefield she becomes so overwhelmed with killing and tasting blood she breaks into a dance that shakes the earth. Siva upon seeing this, lays down at her feet and when she notices him there she then ceases her war dance (Kinsley 108). This is the most popular story regarding Kali’s dominance and blood-thirsty tendencies. With Kali always being portrayed as being disruptive it shows that she is one that goes against stability and what others percieve as order. Kali gets sent to battle warriors and demons but often is shown at the end representing that which she is trying to destroy. When associated with Siva, Kali is the opposite of his other spouse Parvati. Parvati is shown to calm Siva, balancing with his tendencies of destruction. Kali however seems to always bring out Siva’s antisocial and destructive side. To further counter-act each other, Parvati is the one who calms Siva. However it is Siva who is said to try to tame Kali. The disruptive nature of Kali, when being compared with other goddesses, embodies an idea of the anger and intensity that is brought out when forced on the battelfield or to war (Kinsley 80).

Being associated with such violence and often frowned upon behaviour, she thrusts upon an individual the darker aspects of society that many try to ignore or not think about. The Hindu culture was that of people looking for freeing themselves of false reality and obtaining one pure mind. Having such vile aspects of society brought out to the fore front, Kali allows one to see the many faces dharma can take. This brings to life the idea that some call her the Mother Goddess. She is portrayed as a Mother Goddess because she is claimed to bring her devotees a broad world-view (Kinsley 84). Some follow strict dharmic ways and to those and view Kali as too harsh. To others she is viewed as a revealer of the world in its true self, its violent reality. From either position Kali represents that harshness which so many try to avoid. To all, Kali is the part of life that is the hardest to face, that which is inevitable. Kali represents the world as it really is and not just the positive that people have a tendency to focus on. Followers of Kali view her as a way to see the full world and use it to further step away from all illusions (Kinsley 136-137).

Bibliography

Harding, E. U. (1998). Kali: the black goddess of Dakshineswar. Delhi: Motilal Banarsidass Puiblishers.

Kinsley, D. R. (1996). Kali, Blood and Death Out of Place. In J. S. Hawley, & D. M. Wulff, Devi, Goddesses of India. Berkeley: University of California Press.

Kinsley, D. R. (1975). The Sword And The Flute. Los Angeles: University of California Press.

McDermott, R. F., & Kipal, J. J. (2005). Encountering Kali: in the margins, at the center, in the West. Delhi: Motilal Banarsidass Publishers.

Websites

www.kalighat.jagaddhatri.com

www.templenet.com/Bengal/kalighat.html

www.kalighat.net/kalighat1.htm

Article written by: Phil Austin who is solely responsible for its content.

Other Goddesses

The 64 Yoginis

In the Hindu religion Yoginis are females credited with magical powers (Kinsley 287). The history surrounding the yoginis is scarce and can vary from source to source. Consensus is that the cult first appeared around the sixth to seventh century (Gadon 33). The cult did not begin to thrive however, until the ninth century and stayed fairly popular through to the twelfth century (Gadon 33). According to the scholar Vidya Dehejia, the roots of Yogini worship are outside the normal orthodox Brahmanical traditions. The Yogini traditions are tantric in nature and therefore have strong connections to rural and tribal traditions (Donaldson 617). The origin of the Yoginis appears to be in small, rural villages (Dehejia 1). They are local village goddesses, grama devatas, who look over the welfare of an individual village (Dehejia 1). Through Tantrism, these local deities were able to gain new forms and vitality as a group of goddesses who could impart magical powers to their worshippers (Dehejia 2). These powers included: anima (the ability to become very small), laghima (the power to levitate and to be able to leave your body at will), garima (the power to become very heavy), mahima (the power to become large in size), istiva (the power to control the body and mind of oneself and others), parakamya (the power to make others do your biding), vasitva (the power to control the five elements) and kamavasayitva (the power to be able to fulfill all your desires) (Dehejia 53). Village goddesses progressively transformed and merged into powerful numerical groupings (Dehejia 1-2).

Statue of a Yogini, one of a cluster of 64, who would be housed in circular, roofless temples, enabling them to fly in and out; 10th century, Sackler Gallery, Washington DC
Statue of a Yogini, one of a cluster of 64, who would be housed in circular, roofless temples, enabling them to fly in and out; 10th century, Sackler Gallery, Washington DC

The numerical groupings associated with the yoginis vary from text to text, but the most common grouping is sixty-four (Donaldson 620). There are very few references to yoginis being alone (Donaldson 633). The numbers eight, twelve, sixteen and sixty-four seem to elevate the yoginis to a higher status (Donaldson 633). The number eight is considered to be very auspicious and have great potency and within the Hindu religion (Dehejia 44). As the square of eight, sixty-four, has even more power and is considered to be extremely auspicious in Tantric literature (Donaldson 633). When the Yoginis are divided into groups of eight it is, usually, to associate each group with a separate deity (Donaldson 634). The groups usually take on the attributes of whichever deity they are connected with (Donaldson 634). Although the grouping of the yoginis into sixty-four is fairly uniform throughout the literature, their names, descriptions and characteristics are not (Donaldson 620).

The cult of the yoginis is often associated with a sense of fear and awe because the yoginis are sculpted with demonic expressions or other dark attributes (Gadon 33). When the yoginis are depicted in sculpture or described in text they often have the heads of various birds such as: parrots, hawks, peacocks, eagles, pigeons, and owls (Kinsley 197). They were also carved with characteristics from other animals (Donaldson 619). These include: the frog, elephant, jackal, goat, ox, cat, tiger, horse, and snake (Donaldson 619). Along with having the qualities of birds and other animals, the yoginis are repeatedly talked about as having severed heads in their hands or scattered around their feet (Gadon 33). In one story from the Padna Purana, the yoginis are called by Siva to consume heaps of flesh from a demon head that Siva has severed (Donaldson 622-623). This story talks of how they rejoiced after eating the flesh and drinking the blood of the demon, and describes them as having enormous bodies and sharp fangs (Donaldson 623). Yoginis are occasionally depicted with numerous arms, anywhere from four to eight (Donaldson 640).

There are four main traditions that are associated with the cult of the yoginis and how they developed from their tribal beginnings and became integrated into orthodox beliefs (Donaldson 618). All four of the traditions revolve around the idea that the yoginis were minor divinities to greater goddesses. The first tradition is the idea of the yoginis as aspects of the Devi or Great Goddess (Donaldson 618). The yoginis were said to be formed from different parts of the Devi, including: her voice, sweat, navel, forehead, cheeks, lips, ears, limbs, toe nails, womb, and her anger (Donaldson 618). The second tradition is the idea that the yoginis are attendant deities of the Great Goddess (Donaldson 618). This tradition is thought to have developed from earlier tradition of Siva and her gana attendants (Donaldson 619). The third tradition focuses on the yoginis as acolytes of the Great Goddess: the matrkas (Donaldson 618). This tradition describes the yoginis as being born of eight mothers and formed into eight groups (Donaldson 622). The fourth and final tradition centers on the thought of the yoginis as patrons of the goddess of the Kaulas (Donaldson 618). Through the scrutiny of numerous Tantric texts, the yogini cult became associated with a specific Tantric sect called the Kaulas (Donaldson 623).

Exploring the yogini temples has been the best way of gathering information about the cult, its practices, and their appearances. Each yogini temple reflects the unique traditions of the area that it is located in (Dehejia 94). This, therefore, leads to many different intepretations of the cult (Dehejia 94). There are certain aspects of the temples that are common. Most of the yogini temples are located in remote areas. For example, the temple of Ranipur-Jharial is located several miles away from the nearest town (Dehejia 103). The temple of Hirapur is extremly isolated, with the only way to access it being through one small dirt lane (Gadon 33). Another common feature among the temples is that they are usually formed in the shape of a circle. Both the Ranipur-Jaharial Temple and the Hiarapur Temple are formed in circles (Donaldson 666, 669).

While this information describes the consensus of Hindu scholars there are few definitive texts that contain concrete information about the cult or its goddesses (Donaldson 624). “Yogini namavalis (name-lists) stand in isolation, neither preceded nor followed by any explanatory verses on the worship or status of these deities.” (Dehejia 31). The Puranic and Tantric texts that do speak of the yogini cult, have made it clear that the reason these goddesses were worshipped was to gain an array of occult powers (Dehejia 53). Many Kaula texts refer to the fact that the followers of Kaula believe in the yoginis and will receive blessings from the yoginis in return for their worship (Donaldson 624). The texts also make reference to how those that do not follow the tradition of the yogini cult will be cursed (Donaldson 624). “Tantras that speak of yoginis, reiterate that this is a highly secret, hidden knowledge that was to be divulged only to initiates“(Dehejia 31).

Bibliography

Dehejia, Vidya (1986) Yogini, Cult and Temples: A Tantric Tradition. New Delhi: National Museum. Donaldson, Thomas E. (2002) Tantra and Sakta Art of Orissa. New Delhi: D.K. Printworld Ltd. Gadon, E. W. (2002). Probing the mysteries of the Hirapur Yoginis.  ReVision, 25, 1. p.33(9).

Kinsley, David (1998) Tantric Visions of the Divine Female: The Ten Mayavidyas. Berkeley: University of California Press.

Related Websites

http://www.khandro.net/dakini_the64.htm

http://orissagov.nic.in/e-magazine/Orissareview/oct2004/englishPdf/originoftantricism.pdf

Related Words

Siva

Kaulas

Padma Purana

grama devatas

Written by Tracy van Paridon (Spring 2009), who is solely responsible for its content.

a. The Ramayana, Major Characters in the Ramayana, Other Goddesses, Sakta Deities (Hindu Goddesses), Sita

Sita

Sita is the principal female character in the Ramayana, an Indian epic said to have been composed by the sage Valmiki. Her name means “furrow”, a reference to her birth story where her father found her in a field after ploughing. Rama, the hero of the story, won the right to marry Sita when he succeeded in stringing and breaking Siva’s bow. Sita accompanied Rama back to his home and, when Rama was banished to the forest instead of being crowned king, decided to go with him because it was her Dharmic duty to stay with her husband. Rama tried to persuade her to stay at the palace but she persisted and he gave in. They lived in the forest until Sita was captured by a demon king named Ravana. Rama and his brother Laksmana set out to rescue her while Ravana tried to seduce Sita. Rama and Laksmana eventually rescued Sita, with the help of an army of monkeys, but Rama doubted Sita’s purity, having lived with the demon for over a year. Sita endured a trial by fire and proved herself untouched by any but Rama. They went home and Rama became king, but the people did not believe Sita was loyal to their King, so he banished her to the forest. Sita met the sage Valmiki and, while staying with him, gave birth to Rama’s twin sons. At the end of the epic, Sita once again proved her purity and, instead of returning to Rama, was taken into the earth.

Sita’s origins have been the subject of scholarly study. In one version of the Ramayana, Sita is the rebirth of a woman named Vedavati, who had thrown herself into a fire to escape Ravana’s lust and swore revenge (Doniger 22). Many versions of the Ramayana hold Sita as being an incarnation of a goddess or a holy maiden (Singaravelu 239). In other stories, Sita is Ravana’s daughter who was abandoned, put in an urn or a lead box and buried in a field or set afloat on the ocean. Some of the stories also present Sita as being the natural daughter of King Janaka or King Dasaratha (Singaravelu 240).

Sita’s purity has also been the concern of scholars and writers. In the fifteenth century Adhyatmaramayana, the Sita that begs for the deer and is kidnapped by Ravana is not the real girl at all, but a shadow Sita, created by Sita on Rama’s orders to keep her safe. It is this Sita that is kidnapped, rescued and eventually disappears into the fire, upon which time the real woman rejoins her husband (Doniger 23). In this version, Sita’s purity is unquestionable because the genuine Sita never spent any time in Ravana’s home. There are also texts where the shadow Sita survives and goes on to live her own life (Doniger 25).

Sita is supposed to be the ideal woman for the ideal man, the embodiment of right thought and right action. Because Rama is the ideal man, many readers feel that there is something wrong with his treatment of his faithful and loving wife. Sita is forced to prove her chastity not once, but twice in a trial of fire, and when she is taken into the forest, it is by Laksmana, without an explanation from Rama (Hess 2-3). “[M]any devotional Ramayanas from the twelfth century on eliminate the episode of Sita’s abandonment.” and many fans of the Ramayana have expressed discomfort with these episodes when talking to Hess (Hess 3-4).

The word “furrow” not only refers to the act of plowing the earth, but also to the female reproductive organ (Peltier 85). Sita is a fertility goddess, intimately connected with nature, and Sakti, “the energy that inspires the hero Rama to action” (Dimmitt 210-211). Throughout the Ramayana, the plants and animals echo Sita’s moods, and nature is thrown into chaos when she leaves Ayodhya with Rama and Laksmana and again when she is kidnapped (Dimmitt 214). The forest delights Sita, “she is the one who prays to and propitiates the river deities and the holy fig tree. Dwelling places are chosen to please her. The flowers and trees delight her” (Peltier 80).

Sita, though, thought to be a perfect embodiment of womanhood, is not as submissive as we might suspect. “Sita’s first clear act of will” is to insist on going into the forest with Rama. She “is defining for herself just what a devoted wife is, choosing what she sees as the substance rather than just the form of marriage. She is also insisting on her own needs and feelings, her desire to be with Rama” (Peltier 79-80). Sita also demands that Rama capture or kill the golden deer, the demon Marica in disguise, for her. Sita is not reacting as a woman seeing something pretty that she must have, but as an Artemis figure, a goddess of the forest that has dominion over all things in her realm, so the creatures are hers and she has a right to treat them as she pleases (Peltier 84). The golden deer possesses her. “She is a woman enchanted by an image of herself.” Throughout the Ramayana, Sita is described as “doe-eyed” and “golden-skinned” and the “golden deer is an image of her beauty and her forest wildness” (Peltier 84). When Marica, dying, calls out for help in Rama’s voice and Laksmana, convinced that Rama would never be in trouble, refuses to go help him, Sita again has to assert her will. She pleads with Laksmana, accuses him of “having designs on her” and finally threatens to kill herself if Laksmana does not go to Rama’s rescue (Sutherland 75). After being rescued from Ravana, Rama rebukes her and asks her how he can take her back now that she has spent time in another man’s house. “Sita weeps bitterly, then wipes her face and gives a spirited speech. It includes a passionate rebuke of his cruelty and a rational analysis of where moral responsibility lies in the case of violence against women. Not mincing words, she says, “Why do you talk to me like that, oh hero, like a common man talking to an ordinary woman? … You, lion among men, by giving way to wrath and passing premature judgment on a woman, have acted like a worthless man.”” (Hess 6). In the final chapter of the Ramayana, when Rama comes to take Sita back with him, realizing she had bore him two sons, instead of meekly submitting, she chooses her own fate. “After suffering countless insults and rejections, Sita finally takes revenge on Rama in the most aggressive manner she knows. In carrying out her characteristic and oft repeated threat of self-immolation, she brings to a culmination her passive-aggressive response to Rama” (Sutherland 78). She chooses to return to the earth, instead of remaining with a man who has twice abandoned her.

Works Cited

Dimmitt, Cornelia (1982) “Sita: Fertility Goddess and Sakti.” The Divine Consort: Radha and the Goddesses of India. Berkeley: Berkeley Religious Studies Series: 210-223.

Doniger, Wendy (1997) “Sita and Helen, Ahalya and Alcmena: A Comparative Study.” History of Religions 37, no 1: 21-49.

Hess, Linda (1999) “Rejecting Sita: Indian Responses to the Ideal Man’s Cruel Treatment of His Ideal Wife.” Journal of the American Academy of Religion 67, no.1 (March): 1-32.

Peltier, Mary Damon (1995) “Sita’s Story: In the Valmiki Ramayana.” Journal of Vaisnava Studies 4 :77-103.

Singaravelu, S. (1982) “Sita’s Birth and Parentage in the Rama Story.” Asian Folklore Studies 41, no 2: 235-243.

Sutherland, Sally J. (1989) “Sita and Draupadi: Aggressive Behavior and Female Role-Models in the Sanskrit Epics.” Journal of the American Oriental Society 109, no. 1: 63-79.

Related Terms

Ramayana

Rama

Hanuman

Laksmana

Ravana

Related Resources

–http://en.wikipedia.org/wiki/Sita – wikipedia article on Sita

–http://www.sitayanam.com/ – Website dedicated to Sita

–http://www.sitasingstheblues.com/ – online cartoon of the Ramayana focusing on Sita’s role.

–http://www.sanatansociety.org/indian_epics_and_stories/ramayana.htm – a short text version of the Ramayana with some illustrations.

–The Ramayana: A Modern Retelling of the Great Indian Epic, by Ramesh Menon- an accessible novelization of the Ramayana.

Written by Sara Kundrik (Spring 2009), who is solely responsible for its content.

Parvati, Sati/Parvati

The Goddess Parvati

The goddess Parvati is worshiped in the Hindu tradition for her affection and beauty. Her name denotes “she who dwells in the mountains.” (Kinsley 41). Parvati is one of the many consorts of Siva, a powerful Hindu god who resides in the mountains. There are many different identities depicted of the goddess. People who view Parvati as the auspicious goddess, call her “Sarvamanagala” (Smith 50). Parvati is also represented as “Ambika”, which refers to her role as a mother, and as “Girija”, the daughter of the Himalayan mountain deity. She is also referred to as Kali, a goddess who is known as “the dark one”. This is because Parvati has a dark complexion (Kinsley 42). As well as the diverse names that describe Parvati, there are many songs, stories, stone carvings, and Pahadi paintings of the goddess.

The mythology of Parvati is largely based on her relationship with Siva. Her association with Siva is described as essential in order for cosmic reproduction to occur, which entails the preservation of the world (Kinsley 41). Sanskritic manifestations derive from the Vedas, which are developed in the Puranas. Dravidian manifestations draw from Tamil country origins, which describe distinct characteristics of the mythology of Parvati. Lastly, autochthonous tradition, also known as the folk tradition, includes legends and folk stories about Parvati (Dehejia 12). Although diverse, together, these traditions formulate a good interpretation of the goddess and describe Parvati as a “dedicated and loving wife.” (Dehejia 39).

Bronze masterpiece depicting the goddess Parvati, consort of Siva; 14th century, Thanjavur Palace Museum
Bronze masterpiece depicting the goddess Parvati, consort of Siva; 14th century, Thanjavur Palace Museum

In the Sanskritic tradition, as described in the Puranas, Parvati is a reincarnation of Sati (Kinsley 37). The goddess Sati was the first wife of Siva who takes her own life in a yajna sacrifice. The gods were concerned with Siva’s state of isolation from others. Thus, they felt that Parvati was destined to marry Siva (Dehejia 16). Himalaya, the father of Parvati, stated that in order for Parvati to become the wife of Siva, she must complete penance. However, Parvati had difficulty performing penance which led to her father asking Kama, the God of love, for assistance. Kama shot arrows at Siva, which in return, angered him. Siva burned Kama to ashes and this deeply hurt Parvati. Parvati escaped to the mountains where she performed austerities (Dehejia 19). These austerities were so frequent and intense that Siva became allured by Parvati’s physical appearance. The marriage of Siva and Parvati is subsequently arranged. Their marriage and family status is described as peaceful and pleasant. Siva and Parvati spent their time sitting on Mount Kailasa, while conversing about Hindu philosophy and engaging in sexual activity (289). However, there were times when the marriage was a challenging endeavor. Parvati and Siva would quarrel and offend each other. At times, Siva behaved so poorly that Parvati would leave him. Siva would often make comments about Parvati’s dark skin, and gave her the nickname “blackie”. Parvati removed herself from the household and settled in the forest, where she performed austerities (Kinsley 44). The legend, the Varaha Purana, states that the devi did this until Brahma granted her wish of changing her complexion from dark to golden.

Regarding the family life of Parvati and Siva, Parvati wanted and eventually gained a son to protect her from intruders coming into her apartment (Kinsley 44). At one point, however, her son would not let Siva enter the apartment. This angered Siva, who spoke of the lack of auspiciousness in Saturn, which led to the beheading of the child. The child’s head was later replaced with the head of an elephant and was named Ganesha. Parvati had two more children, Kartikaya and Andhaka. In the Sanskritic tradition, Parvati is described as being a devoted wife and mother to her sons (Dehejia 25).

Parvati's austerities (tapas) and her worship of Siva are depicted on this pillar at Darasuram Temple in Tamil Nadu
Parvati’s austerities (tapas) and her worship of Siva are depicted on this pillar at Darasuram Temple in Tamil Nadu

Parvati, in the Tamil tradition, is similar to the Sanskritic tradition because it places an emphasis on the bond between Parvati and Siva. In the 4th century, the Tamil region was ruled by Jains, and the Hindu tradition arose in the 5th century (Dehejia 26). This mythology is largely derived from the Silappadikaram and Manimekalai epics from Sangam literature. Like the Sanskritic tradition, the marriage between Siva and Parvati is an important component in both traditions; however, Tamil mythology is mainly based on Parvati and her manifestations. In the Sanskritic tradition, Siva is characterized as being powerful figure and Parvati is known as his loyal consort (Dehejia 28). In the Tamil tradition, Parvati has a split personality. There is the southern goddess, who is depicted as being dark and violent, and then there is the northern version of the devi, who is romantic and quiet (Dehejia 34).

The folk tradition includes the adivasis group. This tradition includes characteristics of Sanskritic and Tamil, but still possesses some differences. For example, instead of worshipping one particular god, the folk worship Parvati is a mixture of the 4 other consorts of Siva. Thus, the folk tradition views one goddess as having many notable features, such as affection, power, and beauty. According to the folk tradition, Khandoba and his consort Mahalsa are the equivalent to Siva and Parvati in the Sankskritic tradition. Khandoba is a deity known as the “killer of demons” and like Siva, this god is associated with the mountains (Dehejia 35). Mahalsa is a reincarnation of Mohini, whom Khandoba was deeply drawn too.

Parvati is adored by painters, poets, and musicians for her divine beauty. The goddess is worshiped in images both with and without Siva (Smith 52). Literature such as the Puranas is known to be one of the earliest and most popular depictions of Parvati. In this script, her life and relationship to Siva are expressed (Dehejia 43). The poet Kalidasa wrote Kumarasambhava, which describes the alluring devi. Along with literature, there are many songs written about Parvati that are mainly sung by women (Dehejia 57). Many women sing about the time in her life when the goddess left the home she was born in to her home in Kailasa. Along with literature and songs written about Parvati, there are also many images depicted of the goddess that are highly valued pieces of work. Temple images of Parvati and her consort Siva are worshipped four times a day (Smith 51). There exists special festivals in honor of Parvati. For example, in a temple once a year, the marriage of Siva and Parvati is re-enacted (Smith 52). The most popular marriage re-enactment occurs during the Caitra month (April-May). Another festival that honors the goddess occurs throughout nine days. This gathering, known as Navaratri, occurs in Asvayuja (October-November), and is said to be “her” time (Smith 51).

There are various images depicted of Parvati. Many images express the bond between Parvati and Siva. Some icons portray Siva as the possessor of Sakti (cosmic power), known as saktiman and Parvati as Sakti. One well known image of Parvati and Siva is the Ardhanarisvara. This image was developed in the 10th century and is made of sandstone (Dehejia 73). It depicts a half male and half female being, which accentuates the interdependent relationship between the goddess and her consort (Kinsley 50). Another icon of Parvati and Siva is known as the Wedding of Siva and Parvati, which was created in the 17th century and is made of ivory (Dehejia 82). In the image, Parvati is offering her right hand to Siva during their wedding ceremony. This icon represents the feelings of bliss and anticipation that were experienced during this festive day. Along with the many images depicted of Parvati and her unification with Siva, other illustrations relate to stories and songs in the Puranas, the Hindu culture, and other festivals and rituals (Dehejia 62).

Although Parvati has little responsibilities as a goddess, she has gained respect and adoration throughout India. The devi is a devoted mother and wife. She is worshiped for her exquisite charm and the love she shares with others (Kinsley 41). Thus, Parvati deserves recognition for representing all that beautiful, both physically and spiritually.

REFERENCES AND FURTHER RECCOMMENDED READING

Dehejia, Harsha (1999) Parvati: Goddess of Love. New Jersey: Grantha Corporation

Foulston, Lynn (2002) At the Feet of the Goddess: The Divine Feminine in Local Hindu Religion. Portland: Sussex Academic Press

Kinsley, David R (1986) Hindu Goddesses: visions of the divine feminine in the Hindu Religious tradition. Berkeley and Los Angeles, California: University of California Press

O’Flaherty, Wendy Dowger (1973) Siva: The Erotic Ascetic. Oxford: Oxford University Press

Pintchman, Tracy (1994) The Rise of the Goddess in the Hindu Tradition. Albany, N.Y.: State University of New York Press

Smith, Daniel H (1991) Handbook of Hindu Gods, Goddesses and Saints. New Delhi: Ashish Singhal for Sundeep Prakashan

Related Topics for Further Investigation:

  • Agni
  • Arjuna
  • Devi
  • Durga Puja
  • Dyaus- pitr
  • Ganesa
  • Indra
  • Kali
  • Rg Veda
  • Sakti
  • Siva
  • Soma
  • Surya
  • Mahabharata
  • Varuna
  • Vayu

Noteworthy Websites Related to the Topic:

http://en.wikipedia.org/wiki/Parvati

http://www.exoticindiaart.com/article/parvati/

http://www.festivalsinindia.net/goddesses/parvati.html

http://www.goddessgift.com/goddess-myths/hindu-goddess-parvati.htm

http://www.kamat.com/kalranga/hindu/uma.htm

http://www.nationmaster.com/encyclopedia/Parvati

http://www.religionfacts.com/hinduism/deities/goddesses.htm

Article written by: Genna Barsky (March 2009) who is solely responsible for its content.

d. Saktism

Sakti (Cosmic Power and Goddess)

Sakti has been described by many different terms such as a goddess, a presence, and an essence, but perhaps the most comprehensive definition, and most complex, is that sakti is power. Sakti is a distinctive power that controls the universe, often thought to be the animating force of the gods (Monaghan: 261-262). While the term is often used in the context of female power, sakti is by no means limited to that concept. Wadley suggests that sakti is strength and energy based on a spiritual force that can be possessed by both men and women (55).

Sakti has its origins rooted deep in the agricultural history of India. Narendra Nath Bhattacharyya (5-9) suggests that the beginnings of the formation of organized religion, the ‘Mother-Goddess’ or “Great Goddess” may have been the center of cultic image for the Indian people. This is assumed to have arisen from the general understanding that women were the creators of life, their bodies the centers of all human creation. Even though male figures began to be incorporated into religion once the role of the male was better understood, concerning procreation, the female dominant aspect remained strong due to tries to agriculture. With the rise of pastoral culture and an increase in the trade of goods, a male dominated society appeared to emerge, pushing female deities to a secondary place in religion, as well as making sakti a subordinate part of male gods, such as Visnu and Siva. As wars and conflict began to rise throughout the Middle East, the Mother-Goddess (Sakti) appeared to have been forgotten. It was not until the age of the Gupta Empire that the atmosphere began to change and cultures began to look again to goddesses for guidance (Bhattacharyya: 63-70). Art and literature were beginning to be explored more than at any other time in recorded history. This cultural increase seems to have set the stage for the revival of goddess worship. It was during this time that the religion of Saktism was born.

It is important to note that while sakti is first and foremost defined as a “power”, the term sakti can also be used when referring to the multiple names that represent not only goddess characteristics but also the individual goddesses that sakti is embodied within. Devi, Kali, Sati, and Durga are only a few of the forms that are often used as interchangeable terms for Sakti. Devi is perhaps the most frequently used term when referring to “the Goddess.” Devi represents a philosophical view of the universe; she is the embodiment of creation and order (Monaghan: 82-83). Wadley’s research (154-177) among the people of Karimpur reveals a number of ritual pujas (devotional worship by Hindus: Rodrigues: 559) done in honor of Devi. Asarhi is conducted between June and July; a puja is done in order to gain shelter and protection for the rainy season. Pujas are also dedicated to Devi for the purposes of protection in other sessions and for the prosperous marriages of young girls (Wadley: 164-174).

Kali is a direct representation of time, and the inevitability of death. Her images are frightening, often associated with bodies and blood. Ernest Payne quotes the Yogini Tantra, in his work ‘The Saktas”; wherein images of “skull-necklaces”, “lolling tongue”, “corpses as ear ornaments” and “streams of blood dripping from the corners of her mouth” are used to portray Kali (22). What must be understood is that this portrait of “the Goddess” is not only meant to inspire fear in her worshipers but also a sense of awe concerning her power (Payne: 109-119). An interesting story shared (and condensed) by Monaghan is that of the wild dance Kali shared with Siva; they danced so fiercely that they nearly destroyed the world itself (Monaghan: 164-166).

The story of Sati is the story of a devoted wife, one so concerned with her husband’s honor that she sacrifices herself. Upon the death and dishonor of her husband Rudra (also identified as Siva), Sati threw herself on the funeral fires of her husband (Kumar, 2003). Widows’ throwing themselves on the funeral fires of their husbands is a practice that has been outlawed in India for many years, but the practice still bears her name.

Durga is often looked upon as the goddess of the flame (Monaghan, 1981). The tale goes that in a great battle, as a last hope the gods combined their fiery breath and from it brought forth Durga, the first of the female goddesses. Monaghan suggests that Durga represents the powers of combat and the sphere of intelligence (88-89). An interesting ceremony preformed by the Durga worshippers of Bengal has been suggested to possibly link present day “Shakti” worship to worshiping practices of the past (Onishi: 100). Specific plants are identified with specific goddesses in this ceremony and called by name: Brahmani, Kalika, Durga, Karttiki, Siva, Raktadantika, Sokarahita, Camunda and Laksmi, each goddess is also assigned a specific color i.e. yellow, red, black, pink, blue, gray, white and ‘turmeric’-yellow. The figure that is made central in the ceremony is given the coordinating colors of fire, and the other figures are placed around it. Onishi believes that this ceremony may have been passed down from the Indus Valley Civilization tying the rite to the assumed original roots of Hinduism (7-9, 96-103). While little is truly known about the Indus Valley Civilization, the comparison shows how there could be a connection between present day practices and the past history of Saktism.

Small towns and villages throughout India often worship their own forms of the Great Goddess (Sakti), an example of this is the village of Vindhyachal, that is mentioned in Hawley & Wulff’s text concerning the goddesses of India (Humes: 49). The local goddess of Vindhyachal is known by the name of Vindhyavasini. The most well known myth concerning Vindhyavasini involves the baby Krisna. Krisna’s uncle (Kamsa) wishes to kill him as an infant but when Vindhyavasini discovers his plan she puts herself in the place of Krishna, in the form of an infant girl. When Kamsa attempts to kill her she transforms into her eight-armed form, threatens his life, and sores off to the mountains of Vindhya (49-51). Humes suggest that Vindhyavasini may be a very early representation of the Great Goddess and may have been a completely independent goddess before she was incorporated into the Krisna myths (50-51). Vindhyavasini is a relevant example of the feminine sakti; due to the fact that her myths depict her as being independent, without a consort and her powers exceed that of many of the male deities (51). The Mahabharata and Harivamsa texts both mention Mahadevi who dwells in mountains of Vindhya, which coincides directly with the myths of Vindhyavasini. This can be taken as an example of how many of the goddess myths contained within Hindu texts can be interconnected and the names often interchangeable. Vindhyavasini, Durga, Sati, Kali and Devi are all examples of how individual goddesses can represent the Great Goddess. Individual texts describe each of these goddesses as having different forms of embodied powers, these descriptions are testaments to the different ways in which sakti can be expressed.

The most central text to many of the goddess cults, even in the present day, may be the Devi-Mahatmya (DM) (Tambs-Lyche: 17-19, 79, 118). Sankhya philosophy is found in this text, which breaks the world up into two main powers, prakti and purusa. Purusa is the ‘male’ aspect of the universe and forms what may be called consciousness and control, while prakti is the female universal manifestation, which centers on all mental and material processes. Prakti is the generating power that forms the cosmos according to these texts. Sakti is regarded as the prakti that all women are born with, according to the DM. The Shakti Tantra Shastras are the primary texts for Saktism, or those that worship Sakti as a form of the Mother Goddess (Kapoor, 2002). Kapoor states that the Upa-Puranas are the only texts actually written for the direct use of the Sakti cults.

Throughout this paper it has been suggested that there are possibly innumerable names and characteristics that can be attributed to sakti. However, one common theme prevails throughout the studies, sakti is power. Many authors may vary in the ways they prefer to portray sakti, whether it is the fearsome representation of Kali or Sati’s embodiment of spousal devotion, every description conjures images of strength and power that may not be equaled by any other male deity. The Goddess is life and death, healing and pain, wrath and mercy. While a paper such as this cannot due true justice to the vast literature available, hopefully it has ignited a spark that will lead to a better understanding of sakti and the power that is available therein.

References and Related readings

Beane, Wendell (1977) Myth, cult, and symbols in Sakta Hinduism. Leiden: E.J. Brill.

Bhattacharyya, Narendra Nath (1974) History of Sakta religion. New Delhi: Munshiram Manoharlal Publishers.

Brighenti, Francesco (2001) Sakti cult in Orissa. New Delhi: D.K. Printworld.

Dwyer, Graham (2003) The divine and the demonic: supernatural affliction and its treatment in North India. New York: Routledge Curzon.

Hawley, John Statton & Wulff, Donna Marie (1996) Devi: Goddesses of India. London: University of California Press.

Kapoor, Subodh (2002) A short introduction to Sakta Philosophy. New Delhi: Indigo Books.

Kumar, Nitin (2003) Shakti – Power and Femininity in Indian Art. Article of the Month.

Kumarappa, Bharatan (1979) The Hindu conception of the deity. Delhi: Inter-India Publications.

Monaghan, Patricia (1981) The book of goddesses and heroines. New York: E.P. Dutton.

Onishi, Yoshinori (1997) Feminine multiplicity: A study of groups of multiple goddesses in India. Delhi: Sri Satguru Publications.

Payne, Ernest (1997) The Saktas. New Delhi: Munshiram Manoharlal Publishers, 1997.

Rodrigues, Hillary (2006) Hinduism-The Ebook. The Journal of Buddhist Ethics: Online Books.

Smith, Daniel & Chary, Narsimhachary (1991) Handbook of Hindu gods, goddesses, saints. Delhi: Sundeep Prakashan.

Tambs-Lyche, Harald (2004) The feminine sacred in South Asia. New Delhi: Manohar.

Wadley, Susan Snow, (1975) Shakti: The power in the conceptual structure of Karimpur religion. The University of Chicago Studies in Anthropology, Chicago.

Related Topics for Further Investigation

Adi-Sakti

Adyakali

Animal sacrifice

Bana-Durga

Brahmanas

Buddhism

Canda

Death

Devi

Devi-bhagavata

Devi-Purana

Dharma

Durga

Durga-Kali

Elephant Demon

Haimavati Uma

Indus Valley

Jainism

Kama-deva

Kali

Kalijai

Kali-Puja

Kali-Sakti

Laksmi

Lila

Mother right

Nagamatas

Navami

Nine Durgas

Parvati

Prakrti

Puja

Puranas

Purusa

Rudra

Rama

Sacrifice

Saivism

Saktas

Saktism

Sati

Sita

Siva

Siva Purana

Sri

Sri-Laksmi

Tantrism

Uma

Universal Body

Universal Motherhood

Vaisnavism

Noteworthy websites related to the topic

http://www.exoticindia.com

http://www.dharmacetrak.com/shakti

http://en.wikipedia.org/wiki/Sakti

http://www.sakti.com/

http://www.britannica.com

http://www.sakti.in

http://www.usp.nus.edu.sg/post/india/literature/sml10.html

http://www.vnn.org/editorials/ET0510/ET12-8845.html

http://www.tantra-ifc-the-art-of-conscious-love.com/Goddess_worship.html

Article written by: Nicole Whale (March 2008) who is solely responsible for its content.

Mahadevi Durga

The Great Goddess Durga

“I am the power that manifests everywhere
I am life, I am death,” says the Mother (Tewari 31)

The Great Goddess of the Hindu tradition is Durga. She is Sakti (cosmic energy), everything in all parts of the universe (Tewari 8). She is worshipped throughout India in various forms and known by an incredibly extensive list of names. These names and representations will be explored here, along with the myths which surround the Goddess. Associated with the gods of the Hindu pantheon she is an unstoppable force known for slaying demons and spurring the gods into action. There are early depictions of feminine figures from the Indus Valley Civilization of the first/second century BCE, but there is no concrete proof that these figurines and icons are goddesses comparable to Durga. Although the Vedas mention goddesses, there is no overwhelmingly powerful feminine figure which stands out as the Great Goddess (Chitgopekar 59).

Other Hindu texts such as the Puranas and the Epics are more instrumental in depicting the cult of the Goddess, which thrives among devotees in almost every village, town and city in India (Chitgopekar 4). Puranas such as the Kalika Purana and the Skanda Purana articulate the legends that give Durga dimension and an aura of strength. The Mahabharata is the earliest text that describes Durga as the slayer of Mahisha the buffalo-demon (Chitgopekar 62). Although Valmiki’s original Ramayana depicted Rama worshipping the Sun seeking aid in his quest against Ravana, Krttivasa’s Bengali version describes Rama worshipping Durga in the sun’s stead (Chitgopekar 61), invoking the Great Goddess to aid him in his battle. The most authoritative text on Durga however is the Devi Mahatmya, a fifth or sixth century CE text from the Markandeya Purana. This compilation can be considered to be raising Durga’s position within the Hindu sectarian traditions (Chitgopekar 70). These texts describe the origin of the Great Goddess Durga. This deity is similar to others in the Hindu pantheon with a great variety of physical representations, names and myths, which will be explored here.
Reading the Hindu texts in search of Durga’s stories requires one to have a better knowledge of her names, so she can be recognized. The Goddess’ names vary in origin and meaning and all lend us insight into such aspects as her role to her devotees, how she was created, what exploits she has undertaken, and her physical forms. The name Durga means “she who is difficult to go against” (Chitgopekar 76) [Chitgopekar notes that scholars translate her name differently, but all denote that she is an incredible, almost unimaginable force]. The name Durga can also be attributed to some of her exploits. As Chitgopekar explains, the Skanda Purana indicates that the name of Durga is given to the goddess Parvati, consort of Siva, when she kills the demon Durga. A myth from the Devi Mahatmya, however, states that the Goddess acquires this name when she slays the demon Durgama. Her qualities as a goddess are denoted by her names as well. Durga is often called “Mother of the Universe” or “Universal Mother” (Dutta 17). As Uma, Siva’s consort, she is seen as a protector and a mother figure. The name Kali identifies the opposite, and is revered as a destructive force. Along with others of the same nature, these names indicate that “the Goddess Durga embodies within herself three forces: Creative, Preservative and Destructive. They are her three primal qualities: Sattva, Rajas, and Tamas” (Dutta 18).

One of Durga’s most widely recognized roles is as a great demon killer, and has been given names appropriate to that role as well. She is known as Mahisasuramardini, the buffalo trampler, which Chitgopekar describes as her “most well-known epithet.” (13)Her demon killing forms relate to the names she is given in various myths. Names such as Parvati and Himavati, daughter of the mountain (Chitogopekar 79), introduce certain stories of her creation that are written in the Hindu texts. Alternatively, names such as Dasabhuja, ten armed one (Chitogopekar 79), or Trinayani Durga, three-eyed Durga (Dutta 16), provide us immediately with a mental image of the Goddess. The Goddess’ multiple forces are also revealed in her imagery. At times called Gauri, the fair complexioned one, we think of her more compassionate side, whereas the names Kali and Shyama, the dark complexioned one, denote her terrifying destructive persona. The nomenclature of the Goddess indicates a rich, complex and detailed history. The legends and representations of the Goddess indicated by her names reveal the intensity and importance of her powers; it can be said with certainty that the role of the Goddess in the Hindu pantheon is not one to be overlooked.

Durga as Mahisasuramardini (Crusher of the Buffalo Demon) (Bhaktapur, Nepal)

Durga’s iconic representations are also important tools for understanding her power. A popular image of Durga is that of her in her ten-armed form killing the buffalo demon Mahisa with one leg over her lion. The Goddess holds weapons from different male gods, linking their power to her. Chitgopekar and Dutta disagree on some of the weapons they list as being in her possession. Dutta’s list includes Siva’s trident, Agni’s dart, Indra’s thunderbolt, Varuna’s conch-shell, Vayu’s bow, Kubera’s club, Yama’s iron rod, Vasuki’s snake and Surya’s shield and sword (Dutta 12). Chitgopekar agrees with Siva, Agni, and Indra’s contributions but adds that Durga held a string of beads and a water pot from Brahma, Visnu’s discus, an axe from Visvakarman, a cup of wine from Kubera [The Great Goddess is depicted as drinking from this cup of wine regularly while in battle with Mahisa. (Chitgopekar 25)] and claims that Varuna’s gift was not a shell but a noose instead. Surya’s gift is also disputed; Chitgopekar asserts that the gift from this Sun God was instead the rays of the sun being on all pores of her skin (Chitgopekar 19). These gifts are an important part of Durga’s story. By endowing her with their emblems the gods of the Hindu tradition show that they place their faith in her to destroy the demon Mahisa who threatened them and whom they could not overcome. Part of Durga’s physical representation is that she is beautiful beyond measure. This beauty is unparalleled (Dutta 12) and attracted some demons to their ultimate death. As discussed previously, the Goddess incarnates in different forms, including Kali, one of her most worshipped shapes. Kali is dark skinned, and has four arms. Two arms hold weapons to “frighten the demons and inflict punishments,” while the other two offer blessings to her followers (Tewari 30). Kali’s tongue is dripping with blood which indicates her role as the goddess of destruction. However, keeping with the theme that the Great Goddess encompasses all creation, preservation and destruction, we are reminded by Kali’s tenderness, portrayed by her feminine form, that “destruction is the beginning of creation” (Tewari 30).
Durga fulfills a great many roles, the three most important being the Creator, the Preserver and the Destroyer of the universe. All other duties she has can be categorized within these three. Vaisno Devi is regarded by some as the ultimate form of this creative Sakti. She is the power that drives the Gods into action (Chitgopekar 49). She is linked to the three great Gods of the Hindu tradition and their great power. Named after the gods with whom she is associated, the Great Goddess can be referred to as the creative force Brahmani, the preserving force Vaisnavi, or the destructive force Rudrani (Dutta 18). Another important role of Durga is that of a protector for her worshippers. In the Skanda Purana the Goddess states that her followers would be spared from the torments of life by invoking or worshipping Her (Dutta 4). One major event dedicated to the worship of the Great Goddess is the Durga Puja. Also known as the Durgotsava or Dasahara, it is celebrated in the Bengal month of Asvina which correlates with the season of autumn. The celebration culminates with the victories of good over evil, principally the triumph of Durga over Mahisa and Rama over Ravana, and signifies the defeat of internal enemies by the devotee (Chitgopekar 102). Durga’s victory against Mahisa has been taken to signify not just the fight between gods and demons or good versus evil, but also the concepts of truth and mental illumination triumphing over falsehood and ignorance (Dutta 22). The Goddess thus has a role in aiding people in finding illumination, a goal in the Hindu tradition. Durga plays many other roles in the lives of her followers including bestowing divine wisdom and spiritual wealth (Dutta 21). Durga has great meaning to people of all castes because her multitude of roles allows her to deal not only with the expansive concepts such as the creation of the universe, but also deals with the internal struggle of all people.

Durga, the Great Goddess is incredibly popular because she has the ultimate power. Her forms and myths denote a deity that can be considered almost unparalleled in strength and thus deserves the respect and worship she is given throughout India. The study of Durga is so rich and detailed however that it requires to be researched with much more depth and dedication to have a complete understanding and respect for the Great Goddess.

References

Chitgopekar, Nilima (2003) The Book of Durga. New Delhi: Penguin Books India

Tewari, Lt. Col. Naren (1988) The Mother Goddess Vaishno Devi. New Delhi: Lancer International

Dutta, Abhijit (2003) Mother Durga: An Icon of Community & Culture. Calcutta: Readers Service


Related Readings

Kinsley, David (1986) Hindu Goddesses: Visions of Divine Feminine in the Hindu Tradition. Berkeley: University of California Press

Foulston, Lynn (2002) At the Feet of the Goddess: The Divine Feminine in Local Hindu Religion. Portland: Sussex Academic Press

Pintchman, Tracy (1994) The Rise of the Goddess in the Hindu Tradition. Albany: State University of New York Press

Jagadiswarananda, Swami (1953) The Devi-Mahatmya or Sri Durga-Saptasati: (700 mantras on Sri Durga). Madras: Sri Ramakrishna Math

Dilwali, Ashok & Malhotra, Sanjana (2001) Ma Vaishno Devi. New Delhi: K.G.M. International


Related Websites


http://www.pantheon.org/areas/mythology/asia/hindu/articles.html

http://www.exoticindiaart.com/article/sakti

http://www.sanatansociety.org/hindu_gods_and_goddesses/durga.htm

http://www.shivashakti.com/durga.htm

Related Topics


Kali
Laksmi
The Devi Mahatmya
Sakti
Durga Puja
Puja
Ramayana
Mahabharata
Siva
Brahma
Visnu
Skanda Puran

Mahisa

Written by Kristina Larkin (Spring 2008) who is solely responsible for its content.

Ganga

Ganga: Goddess and Sacred River

The goddess of the river Ganges is known as Ganga, and she and the river are worshipped as one. The river plays an integral role in the lives of the millions of Hindus in India. Ganga’s myths, forms of worship, usage in daily rituals, and faith in her power all have an extremely important place in Hinduism today.

Many myths describe Ganga as having heavenly origins, and illustrate her descent (avatarana) to earth in various ways, all involving association with the important male gods Brahma, Visnu, and Siva. In one account, Ganga descends to earth using Siva to break her fall. As she falls through his hair, she becomes divided into many streams, each flowing to a different part of the earth. She does this in order to wash over the ashes of the sixty thousand sons of King Sagara, in order to purify and free their souls. His sons had deeply offended the great sage Kapila, who, in anger, burned them to ash. Eventually, Bhagiratha, a descendent of Sagara, takes upon himself to free the souls of his ancestors by doing many austerities. After centuries of doing this, Ganga appears and grants his wish and goes to earth. Another variety of the myth describes that the god Brahma, who, holding Ganga in his water pot, pours her onto Visnu’s foot when it stretches into the heavens (Kinsley 188-189). The three parts of the Ganges have their own names. The section remaining in heaven is known as Mandakini. The earthly portion is known as Ganga, and the part that goes to the final region is called Bhagirathi (Singh 48). All accounts of the myth stress the importance of Ganga’s heavenly, divine nature, and of being made sacred by coming into contact with Visnu and Siva. Due to Ganga’s descent from heaven to earth, she becomes a continuous link between the earthly and heavenly realms (Kinsley 192). It is because of this link that the Ganges is so revered as a way to be in closer contact with the divine.

Ganga is related in the myths to various deities, but it is the relationship between Ganga and Siva that is the most emphasized. Both are dependent on each other. It is only Ganga who can cool the lingam of Siva; otherwise he would always be as a burning linga of fire, and it only with Siva’s help that Ganga does not flood the earth. Both are vehicles for each other. This relationship is demonstrated through the daily ritual of pouring water over the Siva linga (Eck 148).

Bas-relief depicting the goddess Ganga atop her crocodile (makara) mount at Kelaniya Temple, Sri Lanka
Bas-relief depicting the goddess Ganga atop her crocodile (makara) mount at Kelaniya Temple, Sri Lanka

When depicted in different art forms, Ganga is shown as a fair complexioned woman, wearing a white crown and sitting on a crocodile. Many deities are depicted holding special objects, and Ganga is no exception. When shown with two hands, she holds a water lily and a lute. If having four hands, she carries a water lily, a water pot, a rosary, and one hand is held in a protective position (Singh 47). Poet seers of the Vedas started the tradition of praising Ganga for her blessings and power centuries ago. Many praises (mahatmyas) of Ganga can be read in various Sanskrit epics and Puranas, and there are also numerous hymns devoted to the goddess, one of which is known as Jagannatha’s “Ganga Lahari.” These praises and hymns emphasize her greatness, glory, and life giving waters. Different levels of protection and help is also said to be achieved through certain actions involving Ganga. For example, chanting Ganga’s name alone is believed to reduce poverty or get rid of bad dreams. Bathing in Ganga’s waters or being cremated on her banks can even result in liberation (moksa) (Eck 138-144).

Since the river is such a major physical feature and is so important in Hindu mythology, it is only natural that it has major significance in people’s daily lives and rituals. One such role is that played in death rituals. Many Hindus want their ashes or bones put into the Ganges, because they believe that in doing so, they are guaranteed a safe journey to the ancestral realm. It is believed that one can receive liberation immediately through contact with the Ganges. This can occur either by dying in the Ganges, or simply having its water put on the lips right before death. The link that Ganga provides to the heavens from earth is once again observed in the belief that when one’s ashes touch the waters, they are rejuvenated and strengthened enough to make the journey to heaven (Kinsley 193 -194). If one is particularly devout, he or she will try to spend their last days on the banks of the river. They do this according to the belief that one who dies there will be delivered from all sins. These actions strongly support the belief that the Ganges has the power to provide deep spiritual cleansing (Singh 83). Varanasi, which is India’s holiest city, sees the journey of millions of Hindus each year, who come to cremate their dead and wash in the waters (Hammer 80). At the cremation ceremony, the funeral pyre is usually lit by the eldest son. As it burns, a priest will chant Vedic verses. The following day, the ashes are gathered up and taken to Haridwar, a holy city and the place of the headwaters of the Ganga. The ashes are then placed into the holy water (Singh 84). Haridwar is also known as Gangadvara, or “Door of the Ganges”, and is a place of pilgrimage (Eck 137). People want to be cremated on the banks of the Ganges so that they are in her care.

This characteristic of being caring points to another major faith in Ganga, which is her portrayal of being motherly and loving. She is commonly known as Mother Ganges. As Mother, she has the powers of compassion and comfort, and is a provider of blessings to her children (Kinsley 193). Her motherly care can lead to a place that is free from sorrow, fear, old age and death. The goddess is also said to be aware of everyone’s deepest fears and desires. Ganga takes these feelings upon herself, leaving the individual purified and strengthened. Everyday, millions bathe in and drink from the river, and pray on its banks. Using the water for washing, bathing, and cooking is a way to make sure one can receive Ganga’s blessings and grace (King 155-161). Ganga’s waters are understood to be the life giving, immortal liquid (amrta) of mother’s milk (Eck137). The waters are life giving, both physically and spiritually. Physically, the river gives life to the land, making it fertile. The Ganges can create and support life, and is often appealed to in order to ensure healthy crops. Spiritually, the water can purify and cleanse one of pollution. Flowing water has cleansing capabilities, and the power to get rid of one’s daily impurities. This can be done by simply pouring water over one’s head, or taking a ritual bath. These methods are often approved as a way to remove pollution (Kinsley 189-194). In these ways, Ganga fulfills the role of universal mother, protector, and purifier.

Pilgrim journeys are a major way of life for many Hindus. Different festivals, the customs and castes of an individual’s community, and one’s life crisis’s and rituals all dictate how and when a pilgrimage may take place. Millions of pilgrims travel to the Ganges each year. For many, the natural beauty of the river and the Himalayas is very calming, and can be a way to express emotion towards the gods. Pilgrims come to the Ganges seeking healing, and to be rid of any pain or suffering. Hindus from all over the world travel to Haridwar to pour the ashes of loved ones into the river and to make offerings (Kinsley 160-163). Many come to not only appeal to Ganga, but also to touch, see, and bathe in the river itself. The physical river is worshipped as one may worship the image of a deity. Garlands of flowers are often placed around the neck of the image; in this case, garlands are strung out across the river (Kinsley 196). Flower offerings are common, as each day, thousands of pilgrims will drop bags filled with flowers into the river, as offerings to Ganga (Hammer 79). The mahatmyas (praises) say that every part of the Ganga is a tirtha, which is a spiritual ford and a place of pilgrimage (Eck 142).

A certain special event in the endless worship of Ganga is the day known as Ganga Dasahara. It is recognized as the birthday of the Ganga. The banks of the river are filled with bathers, and it is said that by going into the water at this time, ten lifetimes of sins are destroyed. This day celebrates Ganga’s descent (avatarana) from heaven to earth, and is done in expectation of the eventual monsoon rains (Eck 144). Another extremely important Hindu festival is Kumbha Mela. This festival is often considered the most extravagant and impressive, for at any given time there can be more than twenty million people present. It celebrates the glory of Ganga, and all her richness and power. It reenacts a cosmic event when, at a certain astrological union, the Ganga waters became nectar. The main purpose is to have a ritual bath in the river, and millions of pilgrims make the journey to participate in this festival and wash away their sins. There are many processions with elephants, dancing, music, and the general feeling of happiness and joy. These feelings are often increased by the closeness and presence of the Ganges (King 171-172). Gifts to the Ganges are very common, and pilgrims will give many different kinds. Milk, fruit, saris, jewelry, and coins, and many others are all presented as gifts to Ganga. Various offerings are also done, especially in cases of appealing for future prosperity and health. Newly married couples will bathe in the river after marriage and after the birth of their child. Women will wash in the river for fertility and to give birth to a son, and some will contribute a basket filled with clothing or cosmetics (suhagpitari) to Ganga. The gift is believed to ensure the long life and prosperity of their husbands and family (King 177).

The Ganges River can be viewed as an embodiment of life, purity, and power. From its use in daily tasks to more spiritual applications, the Ganges maintains its place as a dominant entity in Hinduism. In recent years, pilgrimage to the Ganga has become more popular. The Ganga is a very powerful force, and she is the link between nature, humans, and divinity (King 187). Respect and adoration for physical nature is reflected in the spiritual importance given to the sacred river and the general landscape. The Ganga is proclaimed to be the most supreme river of all, and all agree that her power is unending and divine (Eck 137-138).

Bibliography

Eck, Diana L. (1996) “Ganga: The Goddess Ganges in Hindu Sacred Geography.” In J.S. Hawley and D.M. Wulff (eds.) Devi: Goddesses of India. Berkeley: University of California Press.

Hammer, Joshua (2007) The Ganges: Sacred and Profaned. Smithsonian November 2007

King, Anna S. (2005) “Waters of Devotion”. In A.S. King and J. Brockington (eds.) The Intimate Other: Love Divine in Indic Religions. New Delhi: Orient Longman

Kinsley, David (1998) Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Tradition. Delhi: Motilal Banarsidass Publications.

Singh, Dharam Vir (2003) Hinduism: An Introduction. New Delhi: Rupa & Co.

List of Related Research Topics

Brahma

Visnu

Siva

Mahatmyas

Ganga Lahari

Puja

Ganga Dasahara

Kumbha Mela

Pilgrimage in India

Moksa

Related Websites

http://en.wikipedia.org/wiki/Ganga_in_Hinduism

http://www.exoticindiaart.com/article/ganga/

http://www.sanatansociety.org/indian_epics_and_stories/the_life_of_ganga.htm

http://www.dollsofindia.com/ganga.htm

http://www.webonautics.com/mythology/ganga2.html

http://www.hinduwisdom.info/articles_hinduism/197.htm

Written by Genevieve Golas (Spring 2008) who is solely responsible for its conten