# South-Indian Images of Gods and Goddesses/Chapter 5

CHAPTER V.
SAKTI-GODDESSES.
I
With each of the chief and minor gods described above are intimately connected one or more goddesses who, so far as the usual routine of worship in temples is concerned, play the subordinate part of consorts, but considered in the higher philosophical sense represent the peculiar energy or virtue of the god without which he could not be in active communion with the world. A cursory analysis of the Hindu cosmogony resolves itself into groups of gods and goddesses, the former being considered the agents or "the lords of karma" and the latter their inseparable power or source of energy. Thus Brahmā, the lord of creation, has the goddess Sarasvatī (the goddess of Learning or Speech) dwelling in his mouth. She presides over learning and is the vāch, logos, (word) which essentially is the first cause of creation; so is Srī or Lakshmī, the consort of Vishnu, the presiding goddess of Wealth and Happiness and hence, also, the energy that sustains or keeps the world going. Siva's consort Pārvatī or Umā likewise, especially in her manifestation as Kālī, is the energy that destroys, that makes the world involve or draw itself into the quiescent state from which it started or evolved. In fact a sect of worshippers called Sāktas, "the adherents of Sakti or Energy," affirm that this Sakti, the feminine element in god, is the sole, if not the preponderating, cause of all visible phenomena. It may be noted that the word sakti is of the feminine gender in the Sanskrit language. Almost every human or divine activity has been personified as a goddess; even the letters of the alphabet being supposed to have their presiding deities. This theory of goddesses has pervaded even Jainism and Buddhism, the latter especially in its Mahāyāna development. Strict Sakti-worshippers do not make any distinction of caste and creed. Perhaps it was thus that Sakti-faith became one of the compromises providing a common meeting ground for the different forms of religion prevailing in India. ​Germs of the energy-creed may indeed be traced even in the Upanishads—the early sacred books of the Hindus—though its extreme development took place at a much later period.
II
Saktis may be found depicted in temples in any one of the three aspects, the calm, the terrible or the ugly, as distinguished by the particular positions in which they are placed or the circumstances under which they are worshipped. When merely represented as the consorts of the gods they are mild and pleasing in appearance and have only two hands, in one of which is held the lotus bud. More often, however, the goddesses have independent existence. The majority of these latter are Saivite in their nature, i.e., wild, fearful and destructive and are often propitiated only by bloody sacrifices. Before entering upon a description of these numerous Saivite Saktis, a word may be said of each of the milder ones associated with Brahmā, Vishnu and Siva. It must be noted that the characteristic feature in the worship of Saktis, whether Saivite, Vaishnavite or otherwise, is the association with them of mystic charms, or geometrical figures called chakras, yantras or pithas, with conventional and often mystic incantations and solemn ceremonials which make no appeal to the gentler feelings of human nature.
III
Sarasvatī or Vāgīsvarī.Sarasvatī or Vāgīsvarī, the consort of Brahmā, may be represented with two or more hands. In the former case she holds the book and the rosary, and in the latter the noose and the hook in addition (fig. 117). Vāgīsvarī, who is referred to in Mayrabhanja (Introduction, p. lxxvi) as a goddess worshipped both by the Buddhist and Hindu Tāntrikas, is described in the Pāncharātrāgama as having three eyes and four hands holding in these latter the staff, book, rosary and the water-pot, which as we have seen above, are the symbols of the creator Brahmā. Two other allied forms of Vāgīsvarī are Dhēnu-Vāgīsvarī and Saubhāgya-Vāgīsvarī, both of which are mild in appearance and beautiful, but as Saktis in essence, they display the Saivaite attributes of three eyes, the jatāmakuta ​
Fig. 117.–Sarasvatī; Bāgali.
​and the crescent. The former, who is logos (Sabda-Brahmā) incarnate, is identical with the illustration from Bāgali given above. Sarasvatī, when represented as the goddess Sāradā (the form in which she is worshipped at Sringēri-matha, in Mysore) presiding over the sixty-four sciences (chatushshashtikalā), has five faces and ten arms. The worship of Sarasvatī generally held on the ninth day of the Dasara is conducted by invoking her presence in a library of books and offering fruits, flowers, sandal and incense.
IV
Lakshmī or Srī and Prithvī or MahīThe two consorts of Vishnu are Lakshmī (Wealth) and Prithvī (Earth). The former is seated or standing on a red lotus pedestal, has four hands, holds two lotus flowers in her upper arms, the other two hands being either in the boon-giving and protecting postures or holding a vessel and a fruit. She is said to have sprung from the ocean at the time of its being churned for nectar. The latter, Prithvī, has only two hands of which the right is raised in the abhaya posture and the left holds the fruit of the pomegranate. Her left leg is represented also as stepping upon a pot of treasures. When Lakshmī accompanies Vishnu she has only two hands. Eight forms of Lakshmī, known as Ashta-Mahālakshmī, are Gaja- Lakshmī.recognized. Of these, Gaja-Lakshmī is the most popular. She is generally found figured on the lintels of door-frames, has four arms and is seated in the same posture as Vināyaka, on a full-blown lotus of eight petals. In her right hand she holds a lotus flower with a long stem which reaches her shoulder ring and in her left a pot of nectar. The two other hands of the goddess hold the bilva-fruit and the conch. Behind her are represented two elephants pouring water from two pots held by their trunks over the head of the goddess. The Mānasāra describes the same goddess with two hands as Sāmānya-Lakshmī and says that she is figured on door-ways. In the Samanya- Lakshmī; Indra. Lakshmī;Silpasāra this goddess is called the two handed Indra-Lakshmī. A fine representation of Sāmānya- Lakshmī comes from Mahabalipuram (fig. Il8). The central figure of the group is seated on a pedestal of lotus flower, whose open petals are seen hanging down and decorating with their edges the rim of another lotus pedestal at the ​
Fig. 118.–Samanya Lakshmi; Seven Pagodas.
​base. Below this again is a floral design, also perhaps of lotuses, a bud in the middle and full blown flowers on either side. The goddess has two hands and holds in each of them a closed lotus flower. Two female attendants on the immediate right and left sides are seen lifting up pots of water which are received by two majestic elephants in their trunks (not fully represented) and poured over the head of the goddess alternately. The second female attendant to the left of the goddess carries a lotus bud in one of her hands, and the corresponding one to the right, a cup-like vessel, which in all probability is meant to hold the sandal paste, turmeric powder or some toilet requisite intended for the goddess. The head dress of the attendant women and the simple ornaments which they wear are worth noting and point to the modest taste of the Pallava times. The Sri-sūkta praises Lakshmī as " the goddess of Prosperity standing on the lotus flower, slightly bent on account of the weight of her breasts, having high hips, broad lotus-like eyes and deep navel pit, dressed in white cloth and bathed by heavenly elephants from golden pots which are bedecked with a variety of jewels, and holding lotuses in her hands." Havell calls the picture from Mahābalipuram " Lakshmī arising Mahā. Lakshmī.from the sea " and describes it in Chapter XXI of his Ideals of Indian Art. Another of the eight Lakshmīs, is Mahā-Lakshmī who has four hands in which she holds a vessel, the club Kaumōdakī, the shield and the bēl-fruit (srīphala). A special feature of this Mahā-Lakshmī is that she wears a linga on her head. When standing or seated on a lotus, with lotus flowers in her two Vīra- Lakshmī.upper hands and the varada and abhaya postures in the lower, Lakshmī receives the name Vīra-Lakshmī. In another representation she holds the noose, rosary, lotus and the hook. Kollāpura-Mahālakshmī is stated in the Silpasāra to have six arms, in three of which are held the club, Kollāpura- Mahā. Lakshmī.shield and wine-cup. Another called Ashtabhujā-Vīralakshmī has eight arms, in which are seen the noose, hook, rosary, the boon-conferring hand, the hand of protection, the club, lotus and the vessel.
The eight Energies of Vishnu.The Padma-Purāna mentions eight Saktis (or Energies) of the protecting god Vishnu, viz., Srī, Bhū, Sarasvatī, Prīti, Kīrti, Sānti, Tushti and Pushti. As the names clearly indicate, these goddesses of Wealth, Earth, Learning, Love, Fame, Peace, Pleasure and Strength are the eight channels through which the protective energies of Vishnu are brought into play. All these goddesses have four hands, hold lotuses in the two upper ones and exhibit the varada and abhaya postures in the two lower. ​
V
Gaurī or Pārvatī.The general form of the goddess Gaurī, Pārvatī or Umā, the consort of Siva, as given in the Kāsyapa-Silpa and the Mānasāra, is that she has two hands when accompanying the god Siva and four when represented independently. In the former case she is fully decorated, is standing or seated on a lotus pedestal, holds a blue lily in the right hand, while her left hangs down loose " like the tail of a cow." She wears a band on the forehead called phālapatta, has one of her legs slightly bent (kunchita) and the other placed straight (lambita or svastika) on the pedestal ; she stands to the left of the image of Siva or the Siva-linga and wears the head-dress karandamakuta, kiritamakuta or kesabandha (fig. 119). In the latter case also she is fully decorated, has a jatāmakuta like a male deity, and presents with her lower hands the varada and abhaya postures, while in the upper two she holds the ted and the blue lotuses. Earlier authorities state that she may also exhibit in these hands the lily and the rosary. The illustration from Paramēsvaramangalam (fig. 120) shows in the upper hands the noose and the hook. Gaurī is usually represented with the ornaments of an unmarried girl (kanyakā), sometimes doing penance with the object of securing Siva for her husband (fig. I2l), and in this form she is worshipped by the Māhēsvaras.
VI
The Saivite goddesses, who are either the independent manifestations of Pārvatī or the dependent groups of her following, are too many to mention. Most of the village goddesses mentioned in Chapter VI, below, will be counted by the orthodox Brāhmana among these classes.
The Sapta- Mātrikas,We may begin the description of the Saivite Sakti deities with the group of goddesses known as Saptamātrikās, or the " Seven Mothers." They are : Brāhmī, Māhēsvarī, Kaumārī, Vaishnavī, Vārāhī, Māhēndrī and Chāmundā. These with Maha-Lakshmī, described below, are sometimes counted as " Eight Mothers." They have generally two hands, are red in "Seven Mothers." ​
Fig. 119.–Parvati; Bolumampatti.
Fig. 120.–Parvati; Paramesvaramangalam.
Fig. 121.–Parvati in penance; Pattlsvuram.
​colour and hold a skull and a lotus. Some authorities like the Silpasangraha state that as representing the active energy of Brahmā, Mahēsvara, Kumāra, Vishnu, etc., they have the same vehicles as their lords and hold the same weapons. Brāhmī (also called Brahmānī) consequently has four faces, six arms and the swan vehicle, and she is of yellow hue. Māhēsvarī (Bhairavī) rides on a bull, has five faces, three eyes and ten arms, and is decorated with the crescent. Kaumārī has six faces and twelve arms and rides on a peacock. Vaishnavī is of blue colour and rides on Garuda, has six arms and the garland of flowers called vanamālā (peculiar to Vishnu). Vārāhī has the face of a sow, is black in colour, has a big protruding belly and rides on a buffalo. Māhēndrī (Indrānī) has a thousand eyes, like her consort Indra, is of pleasing appearance and of golden hue, and rides on an elephant. She has apparently also six arms and displays the symbols varada, noose and thunderbolt in her right arms and the abhaya, vessel and lotus in her left. Chāmundā is black and fearful with protruding teeth, long tongue, erect hair, emaciated body, sunken red eyes and a withered belly. It is stated that she can change her appearance at will. She rides on a corpse, wears a garland of skulls and has jewels of serpents. In her ten arms she holds the shield, noose, bow, staff and spear on the left side, and the pestle, disc, fly-whisk, goad and sword on the right. The Mayamata adds that she wears a tiger's skin, has red hair glowing like fire, and the banner of a kite. She may have four, eight or ten hands. According to the same authority these Seven Mothers are to be flanked by Vīrabhadra and Vināyaka on either side (fig. 122). In front of the Saptamātrikās the god Siva may be seated on a lotus flower under the banyan tree Some of these goddesses are ​
Fig. 122.–The Seven Mothers; Tanjore.
​said to have each a tree specially sacred to them, e.g., Kaumārī has the fig-tree (udumbara), Vaishnavī, the pipal, Vārāhī, the karanja, Indrāni, the celestial tree kalpadruma, and Chāmundā, the banyan.
The Saptamātrikās thus described are generally found figured together in a group on the same panel and are quite a common sight in South-Indian villages and Siva temples. When installed within the enclosure of a temple, they are seen often without a shrine built over them, and may receive such attention as the other minor deities of that temple. In villages and in Pidāri temples built exclusively for goddesses, they are worshipped regularly. The Selliyamma temple at Ālambākkam in the Tanjore district possesses an important shrine for the Saptamātrikās. The order in which the Saptamātrikā images are cut on the stone differs according to circumstances. For the destruction of enemies and safety to villages Brāhmī or Brāhmānī must be made to occupy the centre. If Chāmundā be placed there instead, the village will grow in population.
At the entrances to the shrines of Saptamātrikās are placed two guardian deities. Evil spirits, demons and demigods, holding tridents in their hands, may also be installed in the same place. It is enjoined that the daily worship and festivities in the Saptamātrikā shrines are to be performed according to rules prescribed by the Yāmala-mantrasāstra.
VII
Sakti- goddesses with Vaish- native sym- bolsThe following three goddesses, viz., Durgā, Chāmundā and Mahishāsuramardinī, though they partake mainly of the nature of Pārvatī, are however seen holding the Vaishnavite symbols of the discus and the conch. The Purānas say that Durgā was born of Yasōdā, in order to save the life of Krishna who was just then born to Dēvakī. The children were exchanged under divine intervention. Kamsa, the cruel brother of Dēvakī, who had vowed to kill all the children of his sister, thought this female child was Dēvakī's and dashed it against a stone ; but, then, the child flew into the air and assuming the form of Durgā mocked him and went away. On account of this incident she is known as the sister of Vāsudēva-Krishna. The Silpasāra mentions a Chandikā (Chāmundā) of eighteen arms to whom the god Siva presented the trident, Krishna (Vishnu), the conch and Agni, ​the weapon called sakti. According to the Mārkandēya Purāna the goddess that killed the buffalo-demon (Mahishāsuramardinī) was made up of the fierce radiance of Siva, Vishnu and Brahmā while all the other gods contributed the powers peculiarly characteristic of them for the formation of her limbs and ornaments.
ChāmundaChāmundā may be represented with eight, ten (fig. 123), twelve or sixteen arms and made either of wood or of mortar. When in the dancing posture she must have eight, six or four hands. Chāmundā is known by the name Karālī or Bhadrakālī when she has eight arms, Kalabhadra when she has six arms, and Kali, when she has four. BhadrakālīBhadrakālī has a terrible face, fat breasts, protruding teeth and a long tongue and wears a garland of skulls. She rides on a lion and stamps under her foot the head of the buffalo-demon. Hēmādri quoting the Vishnudharmōttara says that Bhadrakālī has eighteen arms and is seated in the ālīdha posture in a car drawn by four lions. When worshipped by Brāhmanas she has ten arms, the Kala- Bhadra.jatāmaktuta and all ornaments. The second, Kālabhadrā, has a beautiful white form but is fierce, being worshipped in burial-grounds under the name of Karālabhadrā, seated in the virāsana posture with the foot placed over the head of the buffalo-demon. The same goddess, when worshipped by the Kshatriyas, is called Kālī Kālī or Mahākālī.or Mahākālī. In KALI or this form she ordinarily holds a trident or sword in one hand and a skull or a cup of wine (fire ?) in the other, rides on a corpse and has a lean stomach. The owl is her vehicle. She wears the tiger's skin, a scarf of elephant's hide and a garland of heads ; has three eyes and ear-ornaments shaped like conches; and is fond of flesh, blood and life. She is followed by evil spirits who fill the four quarters with their roar and she roams about the earth riding on their shoulders. Hēmādri, calling her also by the name Sivarātrī, describes her as having four hands, being black like collyrium, terrible with protruding teeth and tongue (but at the same time beautiful with broad eyes and slender waist), wearing a garland of trunks (of human bodies) and a wreath of serpents. ​
Fig. 123.–Chamunda (Mahakali); Tiruchchengodu.
​Kalī represented sometimes also with twelve or sixteen arms is worshipped by the Vaisyas and Sūdras under the names Charcharā and Bhairavī respectively.
DurgāDurgā is a very popular deity. The name is indifferently applied to all goddesses with a terrible appearance and in a fighting attitude. The general description of Durgā given in the Kāsyapa-Silpa represents her as having four arms, two eyes, high hips, high breasts, and all ornaments. She holds the conch and the discus in her upper hands, while her right lower hand presents the abhaya posture and the left lower rests on the waist. She stands on a lotus-pedestal and has a Mula- Durga.breast-band of serpents and a red petticoat. According to the Silparatna, Mūla-Durgā holds in her lower hands the bow and the arrow. From Mahābalipuram comes the figure of a Durgā (fig. 124) who stands on the buffalo's head. She has eight arms, in the uppermost of which are found the discus and the conch. The other weapons held are the sword and the bell on the right side and the bow and shield on the left. The lowest of the right hands holds evidently a sriphala or the bēl-fruit and the corresponding left has a parrot perching on it and rests freely on the waist of the goddess. The necklace, breast-band and the garment hanging in folds down to her feet deserve to be noticed. The absence of finger rings on the eight hands of the goddess is pecu- liar. The illustration shows also other figures surrounding the goddess, viz., two male devotees with peculiar head dress kneeling at her feet, two female attendants on either side holding the sword and the bow, two demi-gods one of whom is carrying a chauri, and a lion and a deer. In another mandapa at Mahābalipuram is a sculpture evidently of the same goddess with the lion and the deer, pairs of demi gods on the sides and devotees at the feet, one of whom is in the act of either cutting off his hair or his neck. The goddess has only four arms and stands on an ordinary pedestal but not on the buffalo's head (fig. 125). At Sri-mushnam in the South Arcot district is an image of Durgā with eight arms showing almost the same symbols as those of the figure at Mahābalipuram described above, the only exception being that instead of the bell in one of the right ​
Fig. 124.–Durga; Seven Pagodas.
Fig. 125.—Durgā; Seven Pagodas.
on the north wall of the central shrine of Siva temples in Southern India (fig. 127 ). Occasionally, however, they may stand on ordinary pedestals without the buffalo's head, as at Tiruvottiyūr near Madras. In the Vishnu temple at Tirumalisai, Chingleput district, is a similar image (fig. 128) placed in a niche on the north wall of the central shrine. It is said Kātyayani.to be Lakshmī but perhaps represents Durgā without the buffalo's head. The Mayamata, describing the figure of Kātyāyanī with four arms, says that she holds the conch and the discus in the upper hands and exhibits the abhaya and the varada postures with the lower. With eight arms and a parrot, this same figure is stated to receive the name of Durgā. The description of the sculptures from Mahābalipuram and Srīmushnam agrees with what has been said of Kātyāyanī in the Mayamata.
The Saivāgama specifically describes nine varieties of Durgā, all of which have two arms but different weapons SAILAPUTRI. and vehicles. The Sailaputri.first, known as Sailaputrī, rides on a bull, wears the crescent on her head and holds a trident in her hand; the second Brahmachārinī holds the rosary and the water-pot ; the third Chandakhandā rides on the kite and has an angry look ; the fourth Skandamātā rides on a lion and holds lotus buds in her hands ; the fifth Kūshmānda-Durgā is distinguished by a pot full of wine (or blood) which she holds in both of her hands ; the sixth Kātyāyanī riding on a tiger, holds a drawn sword in her hands and is killing a giant ; the seventh Kālarātrī is of fearful appearance and has a grim smile on her face ; the eighth Mahā-Gaurī rides on a white elephant ; and the ninth Siddhidāyini is attended by demi gods. The Kāranāgama quoting the Skanda-Yamala describes these nine Durgās under different names and says that one of them has eighteen arms while the rest have sixteen each. They are generally shown standing naked with one leg placed on the head of the buffalo-demon and hold in their fist a tuft of the giant's hair. One of the Durgās with sixteen arms called Shōdasabhujā-Durgā has three eyes and serpent jewellery and holds tridents in all her sixteen arms.
Fig. 126.—Durga; Srimushnam.
Fig. 127.—Durgā; Dharasuram.
Fig. 128. Durgā-Lakshmī; Tirumalisai.
A goddess with sixteen arms killing the buffalo-demon and as such to be Mahā- Lakshmī.classed among the Saivite Saktis, is also called Mahā-Lakshmī. The Mahā-Lakshmī, described in the Chandikalpa, has twenty arms, holds all the destructive weapons and is seen in the act of killing the buffalo-demon. It will be observed that this Mahā-Lakshmī is only another form of Durga.
Various postures of Mahishāsuramardinī in the act of killing the buffalo-demon are depicted in South-Indian Saiva temples, some of them being of excellent workmanship. It is not always easy to distinguish the images which are thus engaged in the act of killing the buffalo-demon, and to say whether they be representations of Chāmundā,Durgā,Mahishāsuramardinī or Mahā-Lakshmī. It may, however, be suggested that figures with a breast-band standing upright on the severed head of the buffalo are generally those of Durgā-Lakshmī, while those in the actual fighting attitude are either Chāmundā, Mahishāsuramardinī or Mahā-Lakshmī.. They generally have eight arms and hold weapons, the conch, discus, bow, shield, sword, bell, noose and trident. The demon may be shown with a human body, or a human body with a buffalo's head, 3 or a buffalo from whose severed trunk proceeds a human figure. The illustrations given show some of the fighting postures of Mahishāsuramardinī (figs. 129, 130, 131). In the Mahishāsura-mandapa at Mahābalipuram is seen a relief on the proper left wall, which represents the fight between Durgā-Mahishāsuramardinī and the
Fig. 129.—Mahishāsuramardini; Gangaikondasōlapuram.
Fig. 130.—Mahishāsuramardini; Dhārāsuram.
Fig. 131.—Mahishāsuramardini; Durgi.
Fig. 132.—Durgā-Mahishāsuramardini; Seven Pagodas.
"She is surrounded by a host of dwarfs, evidently the ganas of Siva, her spouse. One, behind her, holds a parasol over her head, another at her side waves a fly-whisk (chāmara). The remainder carry weapons, usually a round buckler and a curved sword, in shape like the kukri of the Gurkhas. One in the foreground is in the act of shooting an arrow from a bow.
"Distinct from these ganas is a female figure fallen on her knees in front of the lion and raising a sword with her right hand. Possibly this figure represents Kāli, an emanation of Durgā, though she does not present the terrific appearance peculiar to the black goddess.
"Right opposite Durgā stands the colossal figure of the buffalo-headed demon-king. His royal rank also is indicated by a parasol held over his head- He carries a heavy mace in his two hands and has, moreover, a sword fastened to his left hip. His attitude is that of yielding to the onslaught of the warlike goddess.
"His army is represented by seven demons. Two of these are prostrated in the foreground one slain and another wounded. The latter raises his right hand with two fingers raised. What is the meaning of this gesture ? Is it that of a vanquished warrior imploring his victorious enemy to spare his life ? Of the remaining asuras one is retreating, whereas the others seem to offer a feeble resistance. It is worthy of notice that with the exception of Mahishāsura himself, the demons are shown in a purely human shape."
VIII
Many other Saivite goddesses of fearful appearance, worshipped by people who wish to destroy their enemies or to receive some desired object-of life, are described in the Tantrik works. Some of these which are mentioned below may possibly be, as some suggest, the Aryanized forms of aboriginal deities still worshipped in the Pidāri temples of the South.
Kālarātrī already referred to as one of the nine Durgās, has a single Kālarātribraid of hair and japā-flowers for her ear-ornaments ; she is naked, rides on an ass, has hanging lips 14-A ​and is bathed in oil. In her left hand she holds a human head severed from the body and on the left leg is worn an anklet of metallic wire.
TvaritāTvaritā is stated to be a goddess of the Kirātas or a ' huners.' She has two hands, is decorated with peacock's feathers on the head, and wears a cloth of leaves (as some of the wild tribes of to-day), a garland of gunjā-seeds and a (head) jewel of eight serpents. Nagendra Natha Vasu finds in this goddess a close resemblance to Nāgamātā " the mother of serpents," Skandashashthi or Manasā, and to the goddess Tavitā of the Scythians.
Tripurā- Bhairavī.Tripurā-Bhairavī has four arms, wears a garland of heads and has her breasts bathed in blood.
VajraprastārinīVajraprastārinī is stated to be seated on a lotus, in a boat of blood floating in an ocean of blood. The limbs of her body as well as her head are also bathed in blood.
SurāSurā, wine personified, is represented as a terrible unmarried goddess of eighteen arms and of three eyes. She is tall of form and is as dangerous as destructive fire. She is a terror to the demons and a blessing to angels. In plain language Umā herself is described to be the goddess of wine and Siva (her consort) to be the power of intoxication thereof.
SurapriyāSurapriyā is a goddess seated in a meditative posture cross-legged and attended by a group of Saktis called Ashtāngayoginīs. On either side of her are the deities Pūrnāsvā and Pushkalā. Madhukara, a fat man with hanging belly, two hands and a smiling face, stands on the left side of the goddess. A pot of wine and a staff are also placed near her. The goddess is installed in the houses of prostitutes and small villages or towns, under different names such as Dēvabhāvi, Jnānabhāvi and Gītabhāvi.
SrīvidyādevīSrīvidyādevī has fierce fangs protruding from her mouth, sits on a serpent couch and wears necklaces of human bones.
PrānasaktiPrānasakti, like Vajraprastārinī, is seated on a lotus springing from a boat of blood, in an ocean of blood, and holds among other weapons a human skull filled with blood. ​This is, as it should be, in the case of a goddess who presides over the centres of physical life (prāna).
SvasthāvēsinīSvasthāvēsinī is of scarlet colour, inspires dread in those who see her, dwells amidst corpses, has three faces and two arms holding the kettle-drum and the trident, dark eyes, lean body and three braids of thick black hair. She is of the nature of forest fire.
SatruvidhvamsinīSatruvidhvamsinī, "the destroyer of enemies," has likewise three faces, is as cruel as the flames of fire, has red eyes, fearful fangs, red hair, and a capacious belly. She is naked.
Ugra-TārāUgra-Tārā, the goddess presiding over various diseases, stands in the ālidha posture, carries a corpse over her head and roars terribly. Short of stature, she has braids of black colour mixed with yellow and is surrounded by dreadful serpents. In a skull she holds the diseases of the three worlds together, with the object of killing them.
DhūmrāvatīDhūmrāvatī or Dhūmra-Kalī has a red body and wears a red cloth. Her ear-rings are like the trunks of an elephant and her fangs, terrible. She wears a necklace of skulls, is surrounded by devils, and holds in her hands a drawn sword and a skull.
SūlinīSūlinī with her eight arms, is likewise a goddess who inspires fear. She holds a trident, rides on a lion and is accompanied by four unmarried girls with swords and shields in their hands.
PratyangirāPratyangirā has four arms and a face as terrible as that of a lion. Her hair stands erect on her head. In her hands she holds a skull, trident, kettle-drum and the noose (nāgapāsa). She is seated on a lion and by her power destroys all enemies (figs. I33 and I34).
SītalādevīSītalādevī (or Māriyamma), the goddess of small-pox, is represented as riding naked on an ass with a winnow on her head and a broom and water-pot in her hands.
Fig. 133.—Pratyangirā; Tiruchchengōdu.
Fig. 134.—Pratyangirā (?) (metal); Tiruppalātturai.
BhūtamātāBhūtamātā, " the mother of goblins " has her seat under a pipal-tree and is followed by numerous demons, goblins and demi-gods. She has two hands in which are held a linga (or, sometimes a sword) and the shield. She rides on the lion and has dishevelled hair.
SivadūtīSivadūtī has a dejected appearance, emaciated body and the face of a jackal. She wears a garland of skulls, is fearful and is surrounded by serpents. She may have four or more arms, holding in the former case, a vessel of blood, the sword, the trident and a flesh-pot.
IX
Jyēshthā or Jyēshthā- Lakshmī.Jyēshthā or Jyēshthā-Lakshmī, so called on account of her being supposed to be the elder sister of Lakshmī, is a black goddess with hanging lips, stunted nose, pendant breasts and a big belly. She revels in blood. In one hand she holds a lotus made of iron while the other hand rests on her seat. But sometimes she is seen holding lotuses in both her hands. The legs of the goddess are stretched and hang down from the seat, in the so-called European fashion. Her parting curly hair is made up in the form vāsikābandha. A pair of crows represents her banner. On her right side is seated a bull-faced figure said to be her son, holding a staff in the right hand and exhibiting a pointing finger (sūchi) in the left. On the corresponding left side of Jyēshthā, is seated her daughter, said to be a fair lady (fig. 135). Sometimes the goddess is represented as red in colour and then receives the name Rakta-Jyēshthā. The goddess Jyēshthā with the hanging belly, attended by women on either side and wearing a red cloth, is generally installed outside villages. Her following consists of goblins, demons and spirits. She is the goddess of ill-luck.
Fig. 135.—Jyēshthā; Tiruvellavāyil.
X
Fig. 136.—Saubhāgyabhuvanēsvarī; Dhārāsuram.
The most famous of these milder deities, however, are Lalitā- Tripura- Sundarī and Rājarājes- VarīLalitā, Tripura-Sundarī and Rājarājesvarī (fig. 137). All are highly beautiful and of dazzling brilliance. They have four hands each and hold the symbols : noose (or, fruit), goad (or, conch), sugarcane-bow (or, mirror) and five arrows (or, a lotus or a cup of collyrium). Their worship is directly
Fig. 137.—Rājarājēsvarī; Rāmēsvaram.
* ↑ Mayūrabhanja, Introduction, p. lxii.
* ↑ A recognized classification of the Saktis under the heads Yōga, Bhōga and Vīra has been already referred to (above, p. 110, note 2). The first is defined to be the goddess who is identical with the pedestal of Siva; the second is the goddess that stands to the left of Siva or the Siva-linga as his consort and the third is the independent goddess generally installed in the third outer prākāra of Siva temples.
* ↑ In certain cases where she is represented with four hands, she holds the vinā and the water-pot.
* ↑ Mānasāra describing her under the name Mahī says, that she is figured standing or seated to the left of Vishnu with a blue lotus in her right hand, the left hand hanging down or showing the varada posture.
* ↑ Mayūrabhanja, Introduction, p. Ixvi.
* ↑ Hēmādri, for nstance, has included names such as Vāmā, Jyēshthā, Raudrī, Kālī, Kalavikaranī, Balavikaranī, Balapramathanī, Sarvabhūtadamanī and Manōnmani which are merely different synonyms of Siva, with the feminine terminations added on to them.
* ↑ See Burgess's Elura Cave Temples, Plate XXXIV.
* ↑ Nārasimhī with the face of the man-lion god Narasimha is sometimes mentioned in place of Chāmundā. It is also sometimes stated that the Seven Mothers are but different forms of Chandī (i.e. Chāmundā).
* ↑ The illustration in the Ellura Cave Temples shows only four hands.
* ↑ In the panel of Saptamātrikās (ibid, Plate XXXIV, No. l) Vārāhī is represented with a fine human face and the usual ornaments but has the sow-vehicle. In No. 3 on the same plate, however, the goddess has the face of a sow.
* ↑ The Silpasangraha says that Vārāhi was born of Yāma, the God of Death. According to Hēmadri the goddess Yāmyā, evidently identical with Vārāhi, rides on the buffalo, holds a staff and drinks blood from a skull. Three other goddesses with sow-face are mentioned in the Lalitōpākhyāna and the Vārāhikalpa. Dandanātha-Vārāhi is one, seated on the golden lotus. She has eight arms and a staff by her side. Svapna-Vārāhi has the gleaming tusks of a sow and four arms. She rides on a horse. Suddha- Varahi has also tusks and four arms. It may be noted that Bārtālī (Battālī) is a Buddhist goddess of similar description, sometimes also referred to in the Hindu Tantras (Mayūrabhanja, Introduction, p. xcv).
* ↑ This image has perhaps to be distinguished from Mahishāsuramardini Chāmundā described below.
* ↑ it is stated that the active energy of Siva, which is Vishnu himself, receives the name Kāli while it assumes an angry mood, that in battles it is recognized as Durgā and that in peace and pleasure it takes the form Bhavānī (i.e. Pārvatī).
* ↑ Chāmundā is supposed to be the form of Pārvatī when she killed the giant called Chanda-Munda.
* ↑ Mahākālī is described in the Chanidīkalpa as having ten faces, ten legs and ten arms in which are held all weapons of war. In this form she is stated to have been invoked by Brahmā to kill the demons Madhu and Kaitabha who were attempting to smash Vishnu in his sleep (see above, p, 52). The Kāranāgama mentions an eight-armed Kālī or Mahākālī among the Durgās. Kālikā is a goddess supposed to be the wife of Nairrita (below, p. 243).
* ↑ Rai Bahadur Venkayya says in South-Ind. Inscrs., Vol. II. Introd., p. 41, note I: "Durgā is represented with a sheep's head standing on the giant Simhamukhāsura whom she killed. Her head is fiery and adorned with different jewels. On her forehead she wears a crescent made with sacred ashes of burnt cow-dung. In five of her six hands she holds, respectively, a ring, a sword, a trident, a goad, and a skull."
* ↑ Hēmādri speaking of Kātyāyanī with ten arms, gives almost the same description.
* ↑ Mahā-Sarasvati mentioned in the same work, is said to be an emanation of Gaurī. She has eight arms and is engaged in destroying the demon Sumbha and his retinue.
* ↑ Mayūrabhanja, Introduction, p. xxxix f. The Silparatna adds that Tvaritā rides on a crow and is considered to be a widow.
* ↑ According to the Silparatna this goddess is a. form of Pārvatī, has six hands, is seated on a red lotus, exhibits in her hands a sugarcane-bow, a flower-arrow, the varada and abhaya postures, a noose and a skull, and is engaged in vanquishing Māra-the god of Love.
* ↑ In the names Pūrnāsvā, Pushkalā and Madhukara we may see an apparent analogy to Pūranai, Pudgalai and Maduraī-Vīran mentioned under village deities (belows p. 230).
* ↑ The goddess Prānasakti is invoked by Brāhmanas, in ceremonies where the prānapratishthā, " infusing (an image) with life," has to be observed.
* ↑ The lion vehicle is missing in the Tiruppalātturai bronze. The Tiruchchengōdu figure has the sword and shield in place of skull and noose and a breast-band like Durgā. Both are called Bhadrakālī by the people.
* ↑ The illustration of this image given by Nagendra Natha Vasu (Mayūrabhanja, Plate, facing p. xcvi, fig. 51) and classed by him as one of the Buddhist and Tāntrik goddesses, is not naked. Neither does she carry a winnow on her head.
* ↑ A Sivadūtī of eight arms is mentioned among the Nityaklinnadēvatās of the Lalitōpākhyāna
* ↑ Nirriti is the name by which this goddess of ill-luck, Alakshmī, the elder sister of Lakshmī, is mentioned in the Padmōttarakhanda. She is said to reside in the pipal-tree. Consequently also this tree is not to be touched except on Saturdays when, Lakshmī coming to see her sister, makes the tree auspicious.
* ↑ South-Indian Inscriptions, Vol. II, p. 60.
* ↑ Ind. Ant., Vol. XXII, p. 68. It may be noted that Mr. T. A. Gopinatha Rao in his Elements of Hindu Iconography (p. 391 f) considers the figures of Subrahmanya and his consorts worshipped in one of the chief rock-cut shrines of the temple to be Jyēshthā with her bull-faced son on one side and her fair daughter on the other. The figures are, indeed, much worn out and their features are indistinct ; nor are the crow-banners characteristic of Jyēshthā, clearly visible. Two cocks, however, the banner of Subrahmanya, engraved on the rocky side walls of the same shrine and contemporaneous with the images, prove beyond doubt that the group is one of Subrahmanya and his two consorts and not of Jyēshthā. The shrine of the latter goddess, referred to in the inscription, is in a different compartment, in the lower storey of the same rock-cut temple. At Ānamalai,not far from Madura, is a similar rock-cut shrine of Subrahmanya but with only one goddess. The cock-banner of the god is, again, very clearly shown on the side walls, as in the Tirupparangunram shrine. People call it Sramanankōyil " the temple of Sramana (i.e., a Buddhist or a Jaina) " though the actual name must have been Saravanan-kōyil, " the temple of Saravanan " which latter name is connected with Saravanōdbhava, a synonym of Skanda-Subrahmanya.
* ↑ Literally, one who is full of food (to give to her devotees). This is the name of the famous goddess in Benares, who is also sometimes called Visālākshi. " the broad-eyed.*
* ↑ Gayatrī is of the nature of fire (or Brahmā), has four or ten arms and four faces and rides on a swan ; Savitrī is of the substance of Rudra, has four arms, four faces, twelve eyes and the bull vehicle ; Sarasvatī partakes of the nature of Vishnu, rides on Garuda, has four arms and one face and holds in her hands the Vaishnavite symbols, the discus, conch and the club as also the palm of protection.
* ↑ This is a goddess common to both the Hindu and the Buddhist Tantras ; Mayūrahhanja, p. Ixxxix.
* ↑ In the Ankālamma temple at Kārempūdi (Guntūr district) is an inscription of A.D. 1164, which refers to that village goddess, as Yindhyavāsinī.