Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v2.c14.s41: Chapter LIV: The Female Deities (Śakti-lakshaṇa-vidhāna)
Mānasāra Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Mānasāra-Śilpaśāstra; III. Mānasāra on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Mānasāra: Translation; V. Architecture of Mānasāra: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v2.c14.s41
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Chapter LIV: The Female Deities (Śakti-lakshaṇa-vidhāna)
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The following female deities are specially described: Sarasvatī, the goddess of learning; Sāvitrī; Lakshmī, the goddess of wealth or fortune; Mahī, the earth-goddess ; Manonmanī, the goddess of love ; Durgā ; and the Seven Mothers (*Sapta-mātṛi*) collectively so called. Of these, Lakshmī is distinguished into Mahā- (or the great) Lakshmī, and Sāmānyā (the ordinary) Lakshmī, the latter being installed in all the family chapels. The Seven Mothers consist of Vārāhī, Kaumārī, Chāmuṇḍā, Bhairavī, Māhendrī, Vaishṇavī, and Brahmāṇī. These seven goddesses are measured in the *nava-tāla* system, and all other female deities in the *daśa-tāla* system. The details of these measurements are discussed in two separate chapters, wherein the comparative measurements of the several parts of the various limbs of the body are given. It may be pointed out here that according to the *daśa-tāla* system the whole length of the body is ten times the face, while in the *nava-tāla*, it is nine times, and hence in the *ashṭa-tāla* it should be eight times the face, and so forth.
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The characteristic attributes and poses, and the ornaments, decorations, etc., of each of these female deities are described in detail.
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The goddess Sarasvatī is represented as seated on a lotus-seat. Her complexion is white like crystal. She is four-armed; in her two right hands she holds a *saṁdarśa*¹ and a rosary (*aksha-mālā*), and in her two left hands a book (*pustaka*) and a water-pot (*kuṇḍiku*). There exists, however, also a two-handed variety of the Sarasvatī image. Her ornaments, which are described in detail, include ear-pendants of the type called *grāha-kuṇḍala* (*makara-kuṇḍala*).
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¹ Should we read it *ādarśa* (mirror)? The regular attribute of Sarasvatī, however, is the lute (*vīṇā*).
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Sāvitrī, who is seated on a lotus-seat to the left of Brahmā, may be white and red (*śveta-rakta*) or dark blue (*śyāma*). She has two arms and two eyes, in other words, she assumes a purely human shape. She holds a blue lotus-flower (*utpala*) in her right hand, while her left hand is stretched out in the pose of granting a boon (*vara*). Sāvitrī too is adorned with various ornaments.
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Lakshmī, the goddess of good fortune, looks benign (*prasanna-vadanā*); her complexion is like pure gold. She has four arms. Her upper right hand is raised in the attitude of granting security (*abhaya*), and in her other right hand she holds either a red lotus flower (*padma*) or a rosary. The attributes held in her left hands are a tabor or hand-drum (*ḍiṇḍima*) and a blue or red lotus flower. As befits the goddess of luck, she is bedecked with gorgeous ornaments and jewels.
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In contradistinction with 'the Great Lakshmī' (Mahā-Lakshmī) thus described, the 'ordinary' Lakshmī is said to have only two hands in each of which she holds a red lotus flower (*rakta-padma*). Her distinguishing feature is that she is placed between two elephants with uplifted trunks. A brief account is given about representations of Lakshmī as the spouse of Vishṇu.
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The Earth-goddess (*Mahī-śakti*), who is placed on the other side of Vishṇu, is said to be two-armed and two eyed. In her right hand she holds a blue lotus (*utpala*); with her left hand she indicates the granting of a gift. She has a dark blue (*śyāma*) complexion and wears *makara* ear-rings.
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Durgā, also called Gaurī and Pārvatī, the consort of Śiva, is two-armed. She holds a blue lotus in her right hand and her left hand is in the pose of granting a gift (*vara*). She is distinguished by all the marks of female beauty and is profusely adorned with ornaments. She has a dark blue (*śyāma*) complexion and wears yellow garments. She is placed to the left of Śiva, or of his symbol, the *liṅga*.
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Manonmanī, the goddess of love, is four-armed and three-eyed. Strange to say, her hair-dress is said to be the matted hair (*jaṭā*) of an ascetic. Two of her hands are in the attitude of assuming protection (*abhaya*) and of granting a boon (*vara*). In each of the two other hands she holds a lotus-flower. Her complexion is red and white (*śveta-rakta*) or dark blue (*śyāma*). It appears that this Śakti also is reckoned as belonging to the retinue of Śiva, in whose temple she is worshipped.
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Finally, the Seven Mothers are described. In general these Śaktis have the same emblems and distinguishing features as their male counterparts. Brahmāṇī and Rudrāṇī, for instance, who are the Śaktis of Brahmā and Rudra (or Śiva) respectively wear the matted hair of the ascetics Brahmāṇī has four faces and four hands, in two of which she holds a rosary (*aksha-mālā*) and a water pot (*kuṇḍikā*). Rudrāṇī has a white complexion, her attributes are the antelope (*hariṇa*) and the noose (*pāśa*). Vaishṇavī and Vārāhī, who are both Śaktis of Vishṇu, are distinguished by a dark blue (*śyāma*) complexion and hold the discus (*chakra*) and conch-shell (*śaṅkha*), which are the well-known emblems of Vishṇu. Vārāhī has a boar's head.
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The chapter closes with a very brief reference to the plumb-lines which are more fully treated in a separate chapter.