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South-Indian Images of Gods and Goddesses c10.s2: IV

South-Indian Images of Gods and Goddesses c10.s2

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IV

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The 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,¹ 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 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 *Silpasāra* this goddess is called the two-handed Indra-Lakshmī. A fine representation of Sāmānya-Lakshmī comes from Mahābalipuram (fig. 118).² 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 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 from the sea” and describes it in Chapter XXI of his Ideals of Indian Art.

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¹ *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.

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² *Mayūrabhanja*, Introduction, p. lxvi.

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FIG. 118.—Sāmānya-Lakshmī; Seven Pagodas.

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Another of the eight Lakshmīs, is Mahā-Lakshmī who has four hands in which she holds a vessel, the club Kaumōdaki, the shield and the bél-fruit (sriphala). A special feature of this Mahā-Lakshmī is that she wears a linga on her head.

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When standing or seated on a lotus, with lotus flowers in her two 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, 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.

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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.

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MAHĀ-LAKSHMĪ.

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VĪRA-LAKSHMĪ.

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KOLLĀPURA-MAHĀ-LAKSHMĪ.

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The eight Energies of Vishnu.

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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 kēsabandha (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 red 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. 121), and in this form she is worshipped by the Māhēsvaras.

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VI

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The Saivite goddesses, who are either the independent manifestations of Pārvatī or the dependent groups of her following, are too many to mention.¹ Most of the village goddesses mentioned in Chapter VI, below, will be counted by the orthodox Brāhmana among these classes.

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¹ Hēmādri, for instance, has included names such as Vāmā, Jyēshthā, Raudrī, Kālī, Kalavikarani, Balavikarani, Balapramathani, Sarvabhūtadamani and Manōnmani which are merely different synonyms of Siva, with the feminine terminations added on to them.

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We may begin the description of the Saivite Sakti deities with the group of goddesses known as Saptamātrikās,² or the “Seven Mothers.” They are:—Brāhmī, Māhēsvarī, Kaumārī Vaishnavī, Vārāhī, Māhēndrī and Chāmundā.³ These with Mahā-Lakshmī, described below, are sometimes counted as “Eight Mothers.” They have generally two hands, are red in colour and hold a skull and a lotus. Some authorities like the *Silpasangraha* state that as representing the active energy of Brahmā, Mahēśvara, 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 ¹ and the swan vehicle, and she is of yellow hue. Māhēśvarī (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,² is black in colour, has a big protruding belly and rides on a buffalo.³ 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. Chāmundā⁴ 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 said to have each a tree specially sacred to them, e.g., Kaumārī has the fig-tree (udumbara), Vaishnavī, the pipal, Vārāhī, the karanja, Indrāṇī, the celestial tree kalpadruma, and Chāmuṇḍā, the banyan.

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² See Burgess’s Elura Cave Temples, Plate XXXIV.

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³ 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).

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¹ The illustration in the Elura Cave Temples shows only four hands.

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² In the panel of Saptamātrikās (*ibid.* Plate XXXIV, No. 1) 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.

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³ The *Silpasangraha* says that Vārāhī was born of Yāma, the God of Death. According to Hēmādri the goddess Yāmyā, evidently identical with Vārāhī, 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-Vārāhī is one, seated on the golden lotus. She has eight arms and a staff by her side. Svapna-Vārāhī has the gleaming tusks of a sow and four arms. She rides on a horse. Suddha-Vārāhī also has 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).

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⁴ This image has perhaps to be distinguished from Mahishāsuramardini-Chāmundā described below.

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FIG. 119.—Pārvatī; Bōlumāmpatti.

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FIG. 120.—Pārvatī; Paramēśvaramangalam.

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D.565

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FIG. 121.—Pārvatī in penance; Paṭṭīsvaram.

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FIG. 122.—The Seven Mothers; Tanjore.

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The Saptamātṛkās 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 they 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 Saptamātṛkās. The order in which the Saptamātṛkā images are cut on the stone differs according to circumstances. For the destruction of enemies and safety to villages Brāhmī or Brahmānī must be made to occupy the centre. If Chāmuṇḍā be placed there instead, the village will grow in population.

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At the entrances to the shrines of Saptamātṛkās are placed two guardian deities. Evil spirits, demons and demi-gods, holding tridents in their hands, may also be installed in the same place. It is enjoined that the daily worship and festivities in the Saptamātṛkā shrines are to be performed according to rules prescribed by the Yāmala-mantrasāstra.

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Saktigoddesses with Vaishnavite symbols.

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The following three goddesses, viz., Durgā, Chāmuṇḍā and Mahishāsuramardinī, though they partake mainly of the nature of Pārvatī,¹ are however seen holding the Vaishnavite symbols of the discus and the conch. The Purāṇas 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 (Chāmuṇḍā) of eighteen arms to whom the god Siva presented the trident, Krishna (Vishnu), the conch and Agni, the weapon called sakti. According to the Mārkaṇḍeya-Purāṇa the goddess that killed the buffalo-demon (Mahiṣāsuramardinī) 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.

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¹ It is stated that the active energy of Siva, which is Vishnu himself, receives the name Kālī 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).

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Chāmuṇḍā¹ 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. Chāmuṇḍā is known by the name Karālī or Bhadrakālī when she has eight arms, Kālabhadrā when she has six arms, and Kālī, when she has four. Bhadrakālī 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 Viṣṇudharmōttara says that Bhadrakālī has eighteen arms and is seated in the ālīdha posture in a car drawn by four lions. When worshipped by Brāhmaṇas she has ten arms, the jaṭāmakuta 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 or Mahākālī.² In 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.

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¹ Chāmuṇḍā is supposed to be the form of Pārvatī when she killed the giant called Chanda-Munda.

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² Mahākālī is described in the Chandikalpa 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 Kāraṇāgama mentions an eight-armed Kālī or Mahākālī among the Durgās. Kālikā is a goddess supposed to be the wife of Nairrita (below, p. 243).

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FIG. 123.—Chāmuṇḍā (Mahākāli) ; Tiruchchengōdu.

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Kālī represented sometimes also with twelve or sixteen arms is worshipped by the Vaisyas and Sūdras under the names Charcharā and Bhairavī respectively.

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Durgā is a very popular deity. The name is indifferently DURGĀ 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,¹ 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 breast-band of serpents and a red petticoat. According to the *Silparatna*, Mūla-Durgā holds in her lower hands the bow MŪLA- and the arrow. From Mahābalipuram comes the figure of a DURGĀ. 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 peculiar. 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 Srī-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 hands she is holding, perhaps more correctly, the arrow. The figure stands on the head of a buffalo without any other accompanying attendants and has an umbrella overhead (fig. 126). Images of Durgā with four or more arms standing on the head of a buffalo are generally found placed in a niche 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 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.

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¹ Rai Bahadur Venkayya says in *South-Ind. Inscr*., Vol. II. Introd., p. 41, note 1:—"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."

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FIG. 124.—Durgā; Seven Pagodas.

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FIG. 125. - Durgā; Seven Pagodas.

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The Saivāgama specifically describes nine varieties of Durgā, all of which have two arms but different weapons and vehicles. The 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 Siddhidāyinī is attended by demigods. The Kāranāgama quoting the Skanda-Yāmala 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.

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Mahishāsuramardinī (also called Chāmundā, Chandī) is represented in the Nrisimhaprasāda as the youthful but angry form of Pārvatī with three broad eyes, a slender waist, heaving breasts, one face and twenty hands. Below her is the buffalo-demon with his head cut off and rolling on the ground. A man emerging from the buffalo’s neck is seen holding a weapon in his hand, abject with fear. Pierced by the trident of the goddess, he is vomiting blood. The lion too on which Chandikā is riding attacks the giant with its mouth while the noose held by the goddess is tightly fastened round his neck. The goddess’s right leg is placed on the lion while the other steps on the body of the demon.¹ This form of Chandī is propitiated by those who wish to destroy their enemies. The ruling family of Mysore has Chāmuṇḍā-Chandī for its tutelary deity.

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¹ Hēmādri speaking of Kātyāyanī with ten arms, gives almost the same description.

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FIG. 126.—Durgā; Srīmushnam.

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FIG. 127.—Durgā; Dhārāsuram.

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FIG. 128.—Durgā-Lakṣmī; Tirumalisai.

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A goddess with sixteen arms killing the buffalo-demon and as such to be 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.² It will be observed that this Mahā-Lakshmī is only another form of Durgā.

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² Mahā-Sarasvatī 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.

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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 Chāmuṇḍā, 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 Chāmuṇḍā, 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 buffalo-demon (fig. 132). Dr. Vogel gives the following description of the relief:—"The goddess astride on her vehicle, the lion, is eight-armed. With two hands she shoots arrows at the demon king. The emblems held in her remaining six arms are a disc (*chakra*), a bell (*ghaṇṭā*) and a sword (*khaḍga*) to the right and a conch (*śaṅkha*), a noose (*pāśa*) and an indistinct object, to the left. A quiver is visible over her left shoulder.

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³ Burgess’s Elura Cave Temples, Plate IV, fig. 7, shows the giant as a man with buffalo’s horns.

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FIG. 129.—Mahishāsuramardinī; Gangaikondaśolapuram.

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FIG. 130.—Mahishāsuramardinī; Dhārāsuram.

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FIG. 131.—Mahishāsuramardini; Durgi.

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FIG. 132.—Durgā-Mahiṣāsuramardinī; Seven Pagodas.

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"She is surrounded by a host of dwarfs, evidently the *gaṇas* 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.

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"Distinct from these *gaṇas* 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 Kālī, an emanation of Durgā, though she does not present the terrific appearance peculiar to the black goddess.

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"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.

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"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."

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