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Saptamatrka – radiant goddesses – Sabd Kanni
The
group of seven mother-like goddesses, Matrikas, as commonly accepted, consist
Brahmi, Vaishnavi, Maheshwari, Kaumari, Varahi, Indrani and Chamunda. According
to a version of their origin, as narrated in Devi Mahatmya, it is said,the
Matrka goddesses were created by male Gods in order to aid Mahadevi in her
battle against the demons Shumba and Nishumba.
The
Matrkas emerge as Shakthis from out of the bodies of the gods: Brahmi form
Brahma; Vaishnavi from Vishnu; Maheshwari from Shiva; Kaumari from Skanda;
Varahi from Varaha; and Indrani from Indra.They are armed with the same
weapons, wear the same ornaments and ride the same vahanas and also carry the
same banners like their corresponding male Gods do. Saptamatrkas as a group
indicate transformation of the male identities of gods into goddesses. These
seven mother goddesses, celebrated as a group, are an embodiment of the female
principle of prakrti, the counterpart of purusha.
The
Saptamatrka group is, thus, composed of: two Vaishnava Shakthis (Vaishnavi and
Varahi); two Shaiva Shakthis (Maheshwari and Kaumari); one Brahmi Shakthi, in
addition to Indrani (Aindri) and Chamunda. It is a group of six Deva Shakthis
and one Devi Shakthi, making it into an integrated unit of seven.
Many
have attempted to explain the rationale in the composition of Saptamatrka
group. One explanation mentions that the group of seven goddesses was derived
from the gods that were considered important during the Gupta period. By then,
the major gods - Shiva and Vishnu - had already attained independent - super
status within the Vedic pantheon. Brahma was in any case one among the trinity,
though a less impressive one. And,Skanda had risen into prominence since the
time of Kushanas when he was absorbed into Shiva pantheon; and he developed further
during the Gupta era.Varahi the counterpart of Varaha was more popular during
the Gupta period than any other avatar of Vishnu. Aindri is the only
counterpart of the Vedic gods who by then had lost their importance. Chamunda,
of course, represents the principal feminine force. The omission of the counter
part of Surya who was a major god, acceptable to all sects, during the Gupta
period is rather surprising. Similarly, of Ganapathi who was just beginning to
rise to prominence.
The
Saptamatrkas were earlier connected with Skanda (Kumara), but in later times
were absorbed into the sect of Shiva himself. Aptly, the Saptamatrka panel
begins with Ganesha, the son of Shiva; and ends with an aspect of Shiva such as
Bhirava or Virabhadra. Sometimes, Natesha or Vinadhara - Dakshinamurthy
represents Shiva. The presence of Ganesha at the beginning of the panel, it is
explained, is prompted by the faith that Ganesha as the Lord of the Ganas would
remove obstacles; help the devotee in his pursuit; and guide him along his endeavor.From the sixth century onwards
inclusion of Ganesha in the format became a standard practice. Thereafter,
depiction of Ganesha and Shiva, and sometimes along with Skanda, became quite
common. For instance, In the Matrka panels at Aihole and Elephanta caves
Ganesha and Skanda are shown as child gods along with Shiva. Thus, in
association with Chamunda, the Saptamatrka panel was rendered into a composite
unity.
As
regards the presence of Ganesha and Virabhadra at either ends of the Saptamatrka panel, Shri DSampath observes, elsewhere:
The Saptamatrikas symbolically represent the seven different aggressive
tendencies of the female part of a human being. When unleashed; they tend to
destroy the wellness that comes out of a fostering mother. Children below the
adolescent age are likely to be influenced by such harmful energies. Those
adverse influences breed in kids a sort of ’non- motherly’ destructive
attitude. And, these aggressive tendencies (energies) are meant to be contained
and held in check by the two male energies: of Vinayaka who was ‘mother- born’
and who regarded all women as mothers; and of Virbadra who could invoke
motherly virtues in any woman. Between the manifestation of rational Vinayaka
and the fiery Virabhadra these female energies were to be harnessed.
The
other significant aspect about the Saptamatrka group formation is the order in
which they appear in the traditional texts. The order symbolizes the cycle of
creation and its cessation; and presents it as the functions of female
power-Shakthi.
The
order of the Saptamatrka usually begins with Brahmi symbolizing creation. It is
often represented by the all-comprehensive primordial Nada Om (pranava).Then,
Vaishnavi provides the created world with symmetry, beauty and order.
Maheshwari, who resides in the hearts of all beings, breaths in life and
individuality. Kaumari, Guru-guha, the intimate guide in the cave of one’s
heart, inspires aspirations to develop and evolve. Varahi is the power and aggressive intent to
go after enjoyment. Indrani is the sovereignty intolerant of opposition and
disorder .Chamunda is the destroyer of delusions and evil tendencies, paving
way for spiritual awakening.
The
most important significance of Saptamatrka symbolism is the implication of the
cyclical universal time and its cessation. In the standard versions, Brahmi
symbolizes creation; Vaishnavi the preserver occupies the central position
flanked by three goddesses on each side. The cycle of periodic time ends with
dissolution symbolized by Chamunda. She is the only Devi Shakthi among the
Matrkas. She is at times depicted as one who exists beyond death and time.
Kalabhairava, who usually appears at the end of the Saptamatrka panel,
symbolizes liberation from cycle of birth and death. Thus, it is said,
Saptamatrkas epitomize the process of creation, preservation and death; and,
the final liberation that takes one beyond time. This is in tune with the
Shaktha theology which rationalizes creation, preservation and destruction of
the world as the functions of female power-the Shakthi.
In
Sri Chakra
In
the Sri Chakra, Chatushra the outermost four-sided square field (bhupura – the
earth stretch) known as Trailokya-mohana-chakra is composed of three lines
which make way for four doors (dwara) on four directions. These sets of lines are also described as the
layers of the enclosure wall which surround the city of the Devi (Tripura). The
three lines are understood to represent three planes of existence: attainments,
obstructions and powers. The three planes are related to the body-mind complex
and its experiences with the world around. The associated goddesses are
worshiped by the aspirant seeking protection and guidance as he/she enters into
Sri Chakra.
Along
the outer line the ten Siddhis (attainment-divinities) reside; along the middle
line reside eight Matraka the
Mother-like powers; and, and along the inner line are the ten Mudra-devatas
(goddess who empower).
As
said; the middle wall (line) is guarded by the Matrkas. The wall is red in
color; the red of the rising sun, signifying the Rajo guna of the Matrkas who are said to
represent eight types of passions. The Matrkas, according to Bhavanopanishad of
Bhaskararaya Makhin, are said to be dark blue in color; wearing red garments;
carrying a red lotus and a bowl filled with nectar.
The
Bhavanopanishad (9) recognizes Matrkas as eight types of unfavorable
dispositions, such as: desire, anger, greed, delusion, pride, jealousy, demerit
and merit. Tantra-raja-tantra (36;
15-16) expands on that and identifies
Brahmi with desire (Kama);Maheshwari with the tendency to degenerate and
dissipate (krodha);Kaumari with youthful longings to enjoy (lobha);Vaishnavi
with power to fascinate and delude (moha); Varahi with pride and arrogance
(mada);Indrani with jealousy and envy (matsarya);Chamunda with urge to sin
(papa) and hurt(abhichara); and , Mahalakshmi with doing good (punya) with
other than altruistic reasons. Matrkas who rule over such unfavorable
dispositions are worshipped by the Sadhaka with prayers to suppress and
overcome the evil tendencies that obstruct his progress.
According
to Khadgamala (vamachara) tradition of Sri Vidya, the eight Matrkas are located
along the wall (four at the doors and four at the corners)guarding the city
(Tripura) on all eight directions: Brahmi on the West; Maheshwari on the North;
Kaumari on the East; Vaishnavi on the South; Varahi on North-west; Aindri on
the North-east; Chamunda on the South-east; and, Mahalakshmi on the South-west.
Please see the figure below.
As
you may notice, the Matrkas of Rajo–guna who govern over human passions are on
the outer layer of the Sri Yantra. This signifies that the Sadhaka should get
past passions and prejudices before he enters into the city of the Devi.
Brahmi
Hamsarudha
prakarrtavaya sukastraka-mandala
Sutram
cha pusthakam ghate urdhva-hastha advaye shubhe
(Rupamandana)
Brahmi
or Brahmani the first Matrka is the shakthi of Brahma. She is depicted in
bright golden complexion, having four faces and four hands. In her back- right
hand, she carries a kamandalu and in the back- left hand an Akshamala. The
front- right hand gestures Abhaya and the front- left hand bestows Varada. She
is seated under a Palasha tree, upon a
red lotus. She is adorned in a mellow bright garment (Pitambara) and various
ornaments; and, has on her head karanda-makuta. Her vahana and her emblem is
the swan (Hamsa): (Amsumadbhedagama and Purva-karanagama).
The
Vishnudharmottara describes Brahmi as having six hands. Of the three hands on
the left, the lowest one gestures Abhaya; while the other two hold Pustaka
(book) and kamandalu. On her right, the lowest hand gestures Varada; while the
other two hold Sutra and Sruva (a ladle for pouring oblations of ghee into
fire). It also mentions deer-skin as a part of her attire.
Aum
Dhevee Brahmani Vidmahe
Maha-shakthiyai
Cha Dhimahee
Thanno
Dhevee Prachodayath
Vaishnavi
Vaishnavi
Vishnu saddasi Garudapasi samsthitha
Chaturbhuja
varada shankha chakra gadadhara
(Rupamandana)
Vaishnavi
is the Shakthi of Vishnu. She is seated upon a lotus, under a Raja - vriksha, the
great tree. She is dark in complexion. She has a lovely face, pretty eyes and
wears a bright yellow garment. Her head is adorned with kirita-makuta. She is
richly decorated with ornaments generally worn by Vishnu. She wears the
Vanamala, the characteristic garland of Vishnu. The emblem on her banner as
well as her vahana is the Garuda. When depicted with four arms, she carries in
one of her hands the chakra and in the corresponding left hand the shankha; her
two other hands are held in the Abhaya and the Varada mudra. (Devi-Purana and
Purvakaranagama)
The
Vishnudharmottara states that like Brahmani, Vaishnavi also has six hands; the
right hands are characterized by the Gada, Padma and Abhaya and the left ones
by Shankha, Chakra and Varada.
Aum
Thaarksh Yathwajaaya Vidmahe
Chakra
Hasthaya Dhimahee
Thanno
Vaishnavi Prachodayath
Maheshwari
Maheshwari
prakarrtavaya Vrishabasana samasthitha
Kapala
shula khatvanga varada cha chaturbhuja
(Rupamandana)
Maheshwari
also known as Raudri, Rudrani and Maheshi
is the Shakthi of Shiva. She is white in complexion; and has three eyes. She is depicted with four arms;
two of which are in the Varada and the Abhaya mudra, while the other two hands
hold the Trisula and Akshamala .Sometimes, she is also shown holding Panapatra
(drinking vessel) or axe or an antelope or a kapala (skull-bowl) or a serpent.
Her banner as well as the vahana is Nandi (bull). She wears snake-bracelets;
and Jata -makuta on her head.
The
Vishnudharmottara mentions that Goddess Maheshwari should be depicted with five
faces, each possessing three eyes and each adorned with jata-makuta crown and
crescent moon. Her complexion is white. She is depicted with six arms. In four
of the hands she carries the Sutra, Damaru, Shula and Ghanta. The other two
hands gesture Abhaya and Varada mudra. Her banner also has the Bull for its
emblem.
Aum
Vrushath-vajaaya Vidmahe
Miruga
Hasthaya Dhimahee
Thanno
Maheshwari Prachodayath
Aindri
Indrani
Indra-sadrishi vajra-shlu-gada dhara
Gajasngata
Devi lochanirvasu bhivrta
(Rupamandana)
Aindri,
also known as Indrani, Mahendri, Shakri and Vajri, is the shakthi of Indra; her
complexion is dark- red. She is seated under the Kalpaka tree. She is depicted
as having two or three or a thousand eyes, like Indra. The Indrani is depicted
with four arms. In two of her hands she carries the Vajra (thunderbolt) and the
shakthi; while the other two gesture
Varada and Abhaya mudra. Sometimes, she is shown holding Ankusha (goad) and lotus.
She is richly ornamented; and adorned with Kirita Makuta. Her vahana as well as
the emblem on her banner is the charging elephant. (Devi-purana and
Purvakaranagama)
According
to the Vishnudharmottara, Indrani should be depicted with thousand eyes; and
she should be of golden color. She should have six arms, four of the hands
carrying the sutra, Vajra, Kalasa (a pot) and Patra (adrinking cup) and the
remaining hands being held in Abhaya and Varada mudra.
Aum
Gajath-vajaayai Vidmahe
Vajra
Hasthaya Dhimahee
Thanno
Indrani Prachodayath
Varahi
Varahim
tu pravakshyami mahiso rismsthtam
Varaha-sadrisham
ghantanada chamara-dharini
Ghanta
chakra gada-dhara padma danvendra vighatini
Lokanamcha
hitarthaya sarvavyadhi vinasini
(Rupamandana)
Varahi
is the Shakthi of Varaha, an incarnation of Vishnu. The Markendeya Purana
praises Varahi as a granter of boons and the regent of the northern
direction. Varahi is shown with the face
of a boar and having dark complexion resembling the storm cloud. She is sometimes
called Dhruma Varahi (dark Varahi) and Dhumavati (goddess of darkness). Varahi
is seated under Kalpaka tree. And, her Vahana as well as the emblem on her
banner is an elephant. She wears on her head a Karanda Makuta and is adorned
with ornaments made of corals. She wears on her legs Nupura-anklets. She wields
the hala and the shakthi and is seated under a Kalpaka tree. The
PurvaKaranayama says that she carries Sarnga-Dhanush (bow), the hala (plough)
and musula (pestle) as her weapons.
In
other descriptions, Varahi is identified as the Yami, the shakthi of Yama.
Varahi is described holding a Danda (rod of punishment) or plough, goad, a
Vajra or a sword, and a Panapatra. Sometimes, she is said to carry a bell,
chakra, chamara (a yak's tail) and a bow; and riding a buffalo.
In
the Raktabija episode of Devi Purana, Varahi is described as having a boar
form, fighting demons with her tusks while seated on a preta (ghoul).
To
this description the Vishnudharmottara adds that Varahi has a big belly and six
hands, in four of which she carries the Danda (staff of punishment), khetaka
(shield), khadga (sword), and pasha (noose); while the two other hands gesture
Abhaya and Varada mudra-s.
When
depicted as part of the Sapta-Matrika group, Varahi who is called Panchami (the
Fivefold One) is always in the fifth position in the row of Matrikas. It is
explained; Varahi summarizes fivefold elements: water, fire, earth, air and
ether. Each of these elements is related to lion, tiger, elephant, horse and
Garuda (bird-human) which serve as vehicles of Vishnu. Varahi as the shakthi of
Vishnu is depicted with head of a boar having three eyes and eight arms holding
in her six hands a discus, conch-shell, mace, lotus, noose and plough; while
the other two hands gesture Abhaya and Varada mudra-s . She is depicted as
riding, alternatively, a Garuda, a tiger ,a lion , an elephant or a horse.
In
the Sri Vidya tradition, Varahi occupies a special position as Para-Vidya
(superior power) .She is described as Dandanayika or Dandanatha – the
commander-general of goddess Tripurasundari’s army. She is also the chief-
counselor (maha-mantrini) to the Devi. Varahi is also said to stand in a
‘father’ position to the Devi, while Kurukulla is the ‘mother’.
Varahi
has presence in the Buddhist Tantric lore, also. There, she is described as the
fierce Vajra-varahi or Vajra-yogini.
Aum
Varaaha-muhi Vidmahe
Aanthra-shani
Dhimahee
Thanno
Yamuna Prachodayath
Kaumari
Kumaara
rupa Kaumari mayura bar vahana
Raktha
vastra dhara padma-shula-shakthi-gandhara eti Kaumari
(Rupamandana)
Kaumari
also known as Kumari, Karttikeyani and Ambika is the power of Kumara or Skanda;
the war - god .Her depictions resemble that of Kumara. She is ever youthful,
representing aspirations in life. Kaumari is also regarded as Guru-Guha the
intimate guide who resides in the cave of one’s heart. She is shown seated
under a fig tree (Oudumbara) riding a peacock, which is also her emblem. Her complexion is golden yellow; and is
dressed in red garments. She wears garland of red flowers. Kaumari has four hands;
and carries Shakti and Kukkuta (cockerel) or Ankusha (goad). The other two
hands gesture Abhaya and Varada mudras. She is adorned with a makuta said to be
bound with Vasika or Vachika. She embodies ideas of valor and courage.
(Purvakaranagama and Devi Purana).
According
to the Vishnudharmottara, Kaumari should be shown with six faces and twelve
arms; two of her hands gesturing Abhaya and Varada mudras. In her other hands she carries the Shakti,
Dhvaja, Danda, Dhanus, Bana, Ghanta, Padma, Patra and Parasu. Each of her heads
has three eyes; and is adorned with karanda-makuta.
Aum
Sikid-vajaaya Vidmahe
Vajra
Hasthaya Dhimahee
Thanno
Kowmari Prachodayath
Chamunda
Dastrala
kshindeha chagatrakarshana bhimrudani
Dig-bahuksham
kushisa musalan chakra marganaum//
Ankusha
bibharti khadgam daksnesvatah
Khetaasa
dhanurdandam kutharam chalti bibarti//
Chamunda
pretaga raktha bikratasyahi bhusanath
Dvibhuja
prakatray kartika karyamnuintra //
Chamunda
also known as Chamundi and Charchika is the Shakthi of Devi (Chandi). She is
the destructive form of Devi; and is similar in appearance and habits to
Kali. Devi Mahatmya recounts that in the
course of her fight with demons Chanda and Munda, Devi created from her
forehead the terrible form of Chamunda. Unlike other Matrikas, Chamunda is an
independent goddess. She is also praised as the fertility goddess of Vindhya
Mountains She is also associated with Yama. The descriptions of Chamunda are
varied.
One
of the descriptions of Chamunda mention of her as a goddess of terrible
countenance, black and scowling, with drawn sword and lasso, holding a
Khatvanga, wearing a garland of severed heads
(munda-mala) suspended by their hair. Chamunda is clad in a tiger skin,
hungry and emaciated, mouth hideously distorted and the tongue protruding out.
She sits upon a seat made of three skulls; and has a cadaver for footrest. She
plucked off the heads of Chanda and Munda and presented both heads to Kausiki.
In
other descriptions, a bear's skin is tied over Chamunda's clinging skirt, with
its head and legs dangling on her back. She wears the skin of an elephant as a
cape and grasps two of the animal's feet in her uppermost hands. In her other
hands she brandishes an array of weapons and awe-inspiring objects.
Chamunda
is often depicted as dark in color with very emaciated body, having three eyes,
sunken belly and a terrifying face with a wide grin. Her hair is abundant and
thick and bristles upwards. Her abode is under fig (oudumbara) tree. On her
sunken chest, swings garland of skulls (mundamala) in the manner of a
Yajnopavita. She wears a very heavy jata-makutaformed of piled, matted hair
tied with snakes or skull ornaments. Sometimes, a crescent moon is seen on her
head. Her garment is the tiger skin. Chamunda is depicted adorned by ornaments
of bones, skulls, serpents and scorpions, symbols of disease and death. And in
her four hands she holds damaru (drum), trishula (trident), khadga (sword) and
panapatra (drink-vessel). She is riding a Jackal; or is seated in Padmasana or
is standing on a corpse of a male (shava or preta).She is accompanied by fiends
and goblins. She is surrounded by skeletons or ghosts and beasts like jackals,
who eat the flesh of the corpse that the goddess sits or stands on. The jackals
and her fearsome companions are sometimes depicted as drinking blood from the
skull-cup or blood dripping from the severed head.
Purva-karanagama
mentions that Chamunda, red in color, should be depicted with wide open mouth
set in a terrifying face having three eyes.Her socket eyes are described as
burning like flames. She has a sunken belly; and, wears on her head the digit
of the moon as Siva does. She has four arms. The black or red colored Chamunda
is described as having four, eight, ten or twelve arms, holding a Damaru (drum),
trishula (trident), sword, a snake, skull-mace (khatvanga), thunderbolt, a
severed head and panapatra (drinking vessel, wine cup) or skull-bowl (kapala),
filled with blood, an urn of fire. She wears in her ears Kundla-s made of Conch
shell (Sankha Patra). Her Vahana is an Owl; and the emblem of her banner an
Eagle.
Vishnudharmottara
describes Chamunda as having a terrific face with powerful tusks and seated
upon a male corpse. She has a very emaciated body and sunken eyes and ten
hands. The belly of this goddess is thin and apparently empty. She carries in
her ten hands: Musala, Kavacha, Bana, Ankusa, Khadga, Khetaka, Dhanus, Danda
and Parasu.
Aum
Pisaasath-vajaaya Vidmahe
Soola
Hasthaya Dhimahee
Thanno
Kali Prachodayath
Narasimhi
In
the Devi Mahatmya, the Saptamatrkas (the seven Matrkas) mentioned are:Brahmi,
Maheshwari, Kaumari, Vaishnavi, Varahi, Indrani and Chamunda. At times,
Narasimhi is mentioned in place of Chamunda. In some versions, the Martkas are
counted as eight (Ashta-Matara) by including Narasimhi. There is also a
tradition of Ashtamatrikas, eight Matrkas,which is prevalent in Nepal region.
In Nepal, the eighth Matrka is Maha-Lakshmi (she is different from Vaishnavi).
Narasimhi does not figure in the lists of Devi Purana and in Nepal.
Narasimhi
or Narasimhini or Narasimhika withthe face of a lion, fierce claws and four
arms is the shakthi of Narasimha. She is said to have came out from the heart
of the Devi. As Matrka, Narasimhi is regarded as an independent deity; and not
as a female counterpart of Narasimha. In The Vaishnava School, she is believed
to be an aspect of Lakshmi who pacified the ferocious Narasimha.
In
Devi Mahatmya, Narasimhi accompanies Devi in the fight against demons Shumbha
and Nishumba. There Narasimhi is described as a ferocious warrior: Narasimhi
arrived there, assuming a body like that of a Narasimha throwing the stars into
disarray, bringing down the constellations by the toss of her mane (DM: 20) .
And, Narasimhi, filling all the quarters and the sky with her roars, roamed
about in the battle, devouring other great asuras torn by her claws (DM: 37).
Narasimhi
is sometimes identified with Pratyangira who is endowed with four arms and a
face as terrible as that of a lion. Her head is that of a male lion and her
body is that of a human-female. Her hair stands erect on her head. In her hands
she holds a skull, trident, Damaru and the noose (nagapasa). She is seated on a lion and by her power
destroys all enemies.
In
Tantric worship, Pratyangira is shown with a dark complexion, ferocious in
aspect, having a lion's face with reddened eyes and riding a lion wearing black
garments, she wears a garland of human skulls; her hair strands on end, and she
holds a trident, a serpent in the form of a noose, a hand-drum and a skull in
her four hands.She is also associated with Bhairava, as Atharvana-Bhadra-Kali.
Sri
Pratyangira Devi is also associated with Sri Chakra. She protects the devotees
and guides him/her along the right path.
The
Shaiva School suggests that Pratyangira sprung from the wings of Lord
Sharabesha, the bird-lion-human form that Shiva assumed to pacify (subdue) the
ferocious Narasimha.
[According to Kalikagama, the body of Sharabha
should be that of a bird of golden hue, having two red eyes; and it should have
two up-lifted wings and eight limbs. Sharabha, which is said to be mightier
than an elephant, should have the fierce face of a lion grinning widely, having
tusks and wearing kirita makuta. The
torso of Sharabha resembles that of human male having four hands .The lower
part of its body should resemble that of a lion having four legs, sharp claws
and a tail. Sharabha should be shown carrying the figure of Narasimha in his
human form with upraised folded hands, anjali mudra. ]
Mahalakshmi
Mahalakshmi
is counted as the eighth Matrika in the Asta-matrika tradition followed in the
Nepal region. Mahalakshmi, as Matrka, is not derived from Devi Mahatmya,
although she is described as “Universal Mother’ in other contexts. As Matrka,
Mahalakshmi is regarded as an aspect of Durga; not as Lakshmi the consort of
Vishnu. Mahalakshmi here represents her subtle aspect as Mind, specially her
Sovereignty.
In
the Shaktha tradition, Mahalakshmi is an independent Supreme Divinity
manifesting herself as Maha-Sarasvathi (Sattva), Mahalakshmi (Rajas) and as
Maha-Kali (Tamas).
Devi
Mahatmya explains Mahalakshmi as Devi in her universal form as Shakthi. She is
the primordial energy and was the first to appear before everything
(sarva-sadhya); She is both devoid of form (nirakara) and filled with forms
(sakara); She is both manifest and
un-manifest; She is the essence of all things (sarva sattva mayi). She creates
and governs all existence (Isvari), and is known by various names
(nana-abhidana-brut). She is the ultimate goal of yoga. Mahalakshmi is the creator of the Trinity:
Brahma, Vishnu and Rudra.
Mahalakshmi
is the presiding Goddess of the Middle episode (Chapters 2-4) of Devi Mahatmya.
In her manifestation as Mahalakshmi, the Devi destroys the demon Mahishasura.
The Goddess fought the demon for nine days starting from prathipath (the first
day of the brighter half) of the month of Ashvayuja; andkilled the demon on the
tenth day Vijaya-Dashami ending his reign of evil and terror. Her victory
symbolizes the victory of good over evil.
Mahalakshmi
described as having been created by the effulgence of all the gods is depicted
as Ashtadasha Bhuja Mahalakshmi, with eighteen arms.
Skanda
Purana (Sahyadri khanda) describes Mahalakshmi as: “She who springs from the
body of all gods has a thousand or indeed countless arms, although her image is
shown with eighteen hands. Her face is white made from the light streaming from
the face of Shiva. Her arms are made of substance of Vishnu are deep blue; her
round breasts made of Soma are white. Her waist is Indra and is red. Her feet
sprung from Brahma are also red; while her calves’ and thigh sprung from Varuna
are blue. She wears a gaily colored lower garment, brilliant garlands and a
veil. In her eighteen arms, starting from the lower left, she holds in her
hands : a rosary, a lotus, an arrow, a sword, a hatchet, a club, a discus, an
ax, a trident, a conch, a bell, , a noose, a sphere, a stick, a hide, a bow, a
chalice and a water pot.”
The
Chandi Kalpa adds that Mahalakshmi should be seated upon a lotus (saroja
sthitha) and her complexion must be that of coral (pravala prabha).
When
she is shown with four hands, Mahalakshmi is depicted as seated on a lotus
throne, holding padma, shankha, a kalasha and a fruit (bilva or maatulunga).
Her four hands signify her power to grant the four types (chatur vidha) of
human attainments (purushartha): dharma, artha, Kama and moksha.
The
Shilpa text Rupa-mandana suggests Mahalakshmi with four arms (chatur-bhuja)
should be depicted in the color of molten-gold (taptha-kanchana-sannibha) and
decorated with golden ornaments (kanchana bhushana). She is also described as
having complexion of coral; and seated on a lotus.Her four hands carry
matulunga fruit, mace, shield and bowl of liquor. Her head must be adorned with
snake-hood and a linga.
[
Note: The head-gears mentioned for the Matrkas are commonly the Kirita -makuta,
Karanda-makuta and Jata-makuta. Mansara, the ancient text of Shilpa shastra,
classifies these types of head-gears under the term makuta or mouli (Mansara:
Mauli-lakshanam: 49; 1-232).Forall makuta-s, the width commencing from the
bottom should be gradually made lesser and lesser towards the top.
Among
these, the Kirita-makuta is an elaborate crown that adorns major gods such as
Vishnu and his forms (Narayana) and also emperors (Sarvabhouma).It has the
appearance of Taranga-s (waves) and its middle is made into the shape of
flowers and adorned with precious stones. The base of the Kirita-makuta should
be curved like a crescent (ardha-chandra) just above the forehead.The height of
the Kirita-makuta should be two or three times the length of the wearer’s face.
The
Karanda-makuta is prescribed for lesser godsand for goddesses when depicted
along with their spouse. It is simpler and shallower as compared to
Kirita-makuta. The Karanda-makuta is a small conical cornet receding in tier.
It is
shaped like an inverted flowerpot, tapering from the bottom upwards and
ending in a bud.The width of a Karanda-makuta at the top should, however, be
only one-half or one-third less than that at its base.
The
jata- makuta is suitable according to Mansara for Brahma and Rudra, as also for
consorts of Shiva. Jata-makuta,is made up of jata or matted locks, which are
twisted into encircling braids of spiral curls and tied into a knot looped at
the top. It is held in place by a patta (band); and is adorned with forest
flowers and by a number of ornamental discs like the makara-kuta, patra-kuta,
and the ratna-kuta. In the case of Shiva, the jata-makuta is adorned with a
crescent of the moon, a cobra and the Ganga.
In
the case of Matrkas: Vaishnavi and
Aindri are adorned with kirita-makuta; Brahmi, Varahi and Kaumari with
karanda-makuta; while Maheshwari and Chamunda are adorned with jata-makuta.
Note:
Among the ayudhas carried by the Matrka deities the following are commonly
mentioned: Khadga (Sword); Trishula (Trident) ; (Chakra Thunder - disc) ; Gada
or Khitaka (Mace); Dhanush (Bow); Bana (Arrow); Javelin (Bharji); Parashu
(Battle- Axe) ; Musula (pestle) ; Danda (staff); khatvanga (skull-mace),khetaka
or Sipar (shield); Ankusha (Goad) ; Sutra or Pasha(Noose or lasso);Damaru (drum);
Panapatra (drinking cup); Ghanta (Bell); Akshamala (rosary); Pustaka (book) ;
kamandalu (water pot); and Vanamala (garland of forest-flowers ).
Guruji. A. Sivaguru Swamy
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Skype – sivaguruswamy29
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