Mothers of Power: The Saptamātṛkā Tradition in Early Medieval Rajasthan

 

Dr. Virendra Singh Bithoo ¹

 

¹ Assistant Professor, College of Vocational Studies, University of Delhi, New Delhi, India

 

1. INTRODUCTION

The concept of the seven sister goddesses is discussed in various texts.[1] We gets detailed information about her emergence and the iconography in Āraņyak Parvan of Mahābhārat, Śalya Parvan of Mahābhārata, Bṛhata Saṁhitā, Kumārika khaņḍa of Skand Purana, Varāha Purāṇa etc. Agni Purāṇa also discusses about the emergence of Skanda cult in association with heterogeneous Mātŗkā tradition.  The story of the emergence of SaptaMātṛkās is given in Purāṇas. In Markaṇḍeya-Purāṇa, about the origin of the Sapta Mātŗkās is elaborated. The numbers of Mātŗkās differ in various texts: sometimes these are seven, sometimes eight are mentioned. Varāha Purāṇa additionally added Yogeśvarī in the existing number.[2]These seven sisters either were the ‘seven mother’ of the god Skanda or this was a generic term used for pre-Aryan, non-brahmanical conjoint mother goddess ancestor cults.[3]

All the Mātŗkās are to be shown seated and caring weapons appropriate to their male counterparts. They are shown seated upon padmāsanās in the sculptures. The images of Aṣṭa-Matṛkās are found from Mandor, Kekind and Baroli. Gangadhar inscription of Malav Samvat 480 from Jhalawar, which talks about the Sapt-Mātṛkās temple is of a great historical significance.[4] All these Mātŗkās are sitting in lalitāsana position. These Mātṛkās don’t have their vehicle. These Mātŗikās figures do not have Gaṇeśa or Virabhadra or Śiva in the middle in dancing form as is prescribed. In Mandor and Abaneri, the same thing can be seen. Sapt-mātŗkā images mostly find a place in Śiva temple e.g. Badoli Śiva temple, Śiva temple at Maņdor so on.[5]

Figure 1

Figure 1 Saptamātŗkā on the Upper Left Top of the Toraṇa, Baroli Temple

 

Figure 1 follows the sequence mentioned in Mayamatam and on the left to the goddess can be seen Gaṇeśa.[6] Brahmāṇī in Figure 1 is four headed, with a karandamūkuṭa. In her upper two hands are a Śula and book. The lower right hand is in Abhaya mudrā and the lower left is taking kamaņḍal. In the image of Mahéśvarī, face is mutilated, upper left hand is holding a snake and the lower right hand is in abhayamudrā, and the other two arms are broken. Vaiṣṇavī is depicted with gadā,in upper right hand and cakra in upper left arm, her lower right hand is in Abhaya mudrā and lower left has Kamnḍala. Kaumārī is depicted with four heads in her upper two hands holds a Śakti and kukuṭa. Her lower right arm is in abhayamudrā and lower left has Kamaņḍal. Indrāņī is engraved with ankuśa in upper left and vajra in the upper right. The lower right hand is in abhayamudrā and left is having Kamaņḍal. Vārāhī is holding gadā in her upper right hand and lower left holds Kamaņḍa, remaining two arms are broken. The last goddess is Kankālī Ćāmuṇḍā. Her upper right hand’s weapon is broken; she holds kapāla in her lower left hand and sucking blood with her upper left hand. Her bones and veins are visible beneath the skin, and she is depicted with a sunken belly. To her left stands Gaṇapati, shown with four arms. During the 9^th-10^th century CE, the images of Mātṛkā and Navagraha were simultaneously carved on the lintel of entrance gates.

1)    Brahmāṇī

According to Matsyapurāṇa, she, resembling Brahmā, is four-faced and four-armed. She is to be depicted seated upon a swan, holding rosary and Kamanḍal.[7] Rao points out that as per Amsumadbhēdāgama, in the back right and left hands carries a śūla and akṣamālā respectively; the front right and left hand are in the abhaya and varada pose[8].

According to Mayamattam, She has four heads, large eyes and her complexion is molten gold. She has four arms, bearing the gesture of Varad (boon giving) and Abhaya (fearlessness), along with a trident and a rosary. Seated upon a red lotus, she has swan as her mount and emblem. She portrayed in the likeness of Brahmā and dressed in a tiger skin.[9] According to Agni Purāṇa, Brahmāṇī is to be represented in a fair complexion, riding swan and carrying in her hands rosary, water pot, rosary and one hand with auspicious symbol.[10]

According to Rupamanḍana, she is seated upon a swan and in her hands carries a rosary, water pot, a scripture, a book and in her two uplifted hands she holds auspicious objects.[11] Figure 2 & Figure 3 both are the form of goddess Brahmāņī depicting her with four heads and four hands but varies as per the icon holding in her hand. In Figure 2, she holds ṣruka and scripture in her upper right and left hand respectively. She holds akṣamālā and kamanḍalu in her lower right and left hand respectively. In Figure 3, she is holding śula and akṣamālā in her upper and lower right arm respectively and holding child with lower left hand and holding kamanḍalu in the upper left hand.

Figure 2

Figure 2 Brahmāņī, 8th-11th century, Chandrawati

 

Figure 3

Figure 3 Brahmāņī, 10th-11th Century CE, from Mungathala at present in Ajmer Museum

 

2)    Vaiṣṇavī

According to Matsya Purāṇa, Vaiṣṇavī resembles Viṣṇu seated upon Garuḍa. She is four armed and bestows boons and holding conch, discus and mace. She also can be shown accompanied by a child.[12] According to Mayamatam, she holds a conch and discus and makes the gesture of Varada and Abhaya. She has beautiful eyes with black complexion. She is associated with Pippala tree, Garuḍa is her emblem and her mount. She is adorned with Vișņu’s ornaments.[13] According to Rupamanḍana, out of her four arms, she grants boon with one hand and holds conch, discus and mace in the others.[14]As per Agni Purāṇa, in her right hands she holds conch and discuss and in the left hand bears the mace and lotus.[15]

Figure 4

Figure 4 Vaiṣṇavī, 8th-11th century CE, Chandravati

 

In Figure 4, she is depicted with four arms. She holds in her hand gadā, cakra, rosary with varada mudrā and kamanḍala. It was a part of three Mātŗkā panel at the ruin temple of Candrāvati. In Figure 5, she is depicted with four arms, her upper right hand is broken and in the upper left hand she holds lotus. In her right and left lower hands, she holds rosary with varada mudrā and kamanḍala.

Figure 5

Figure 5 Vaișņavī, 8th-11th century CE, Chandravati

 

3)    Indrāṇī

According to Matsya Purāṇa, she holds vajra, trident, and mace and seated upon elephant and having thousand eyes.[16]Rao while quoting Devī- Purāṇa points out that she carries the ankuśa and the vajra only.[17] Mayamatam states that she shines with the radiance of the moon color and wears a tiara. She holds a noose and the lotus. She is associated with Kalpadruma tree.[18] According to Agni Purāṇa, Indrāṇī should be represented as having a thousand eyes and holding the vajra in her hands.[19] In Figure 6, she holds, Ankuśa and Vajra in her upper left and right hands respectively. In her right and left lower hands, she holds rosary with varada mudrā and kamanḍala.

Figure 6

Figure 6 Indrāņī, 8th-11th century CE, Chandravati

 

4)    Māheśvarī

According to Matsya Purāṇa, Māheśvarī is in the form of Maheśvara, she is adorned with crowned with matted locks and bears the crescent moon, she rides upon a bull. With her four arms she carries skull, trident, club and with gesture of boon giving.[20]According to Mayamatam, she is depicted with three eyes and a radiant red complexion. Her emblem is bull and her hair is coiled into a crown. She holds trident and rosary of beads. She is associated with sandalwood tree and mounted on the bull.[21] According to Agni Purāṇa, Śankarī is to be represented as seated on a bull, carrying bow and arrow in her right hand and a cakra and bow in her left hand.[22] According to Rupamanḍana, she is mounted on the bull, four armed, holding a skull, trident, club and one hand in the varad gesture. [23] Figure 7 depicts her with four hands and holding trident and snake in the upper right and left hand respectively. In her right and left lower hands, she holds rosary with varada mudrā and kamanḍala.

Figure 7

Figure 7 Māheśvarī, 8th-11th century CE, Chandravati

 

5)    Kaumārī

According to Matsya Purāṇa, Kaumārī is depicted riding the peacock and in the form of Kumāra. She holds trident and spear.[24] According to Rupamanḍan, she looks like Kumāra and rides a peacock. She wears red garments and holds śūla, śakti and gadā.[25]

According to Aparājitapŗccha, Kumāri is six faced and sits on the peacock. She holds the akșamālā, śakti, kukkura and kamanḍalu.[26] According to Mayamatam, her complexion is red and emblem peacock. Her hair is tied with ornaments and she holds a spear and cock. She is associated with udumbara (Gular) tree.[27] According to Agni Purāṇa, she is two armed and holds a spear in her hand. She rides peacock and dressed in red garments.[28] In Figure 8, Kaumārī is depicted with four hands. She holds spear in upper right hand and Kukkura in her upper left hand. In her right and left lower hands, she holds rosary with varada mudrā and kamanḍala.

Figure 8

Figure 8 Kaumārī, 8th-11th century CE, Chandravati

 

6)    Varāhī                                                                                                                                

According to Matsya Purāṇa, Varāhī is seated upon a buffalo and resembles Varāha she bears fly whisk, mace and discus and the destroyer of the lord of demons.[29] According to Rūpamanḍan, Varāhī should look like Varāha. She sits on a buffalo, strikes the bell and holds flywhisk. She holds gadā and cakra and for the welfare of the worlds, she annihilates all disease.[30]According to Agni Purāṇa, she is seated upon a buffalo and holds danḍa (staff), conch, and mace for subduing enemies.[31]

According to Mayamatam, Varāhī is dark in hue and display the gesture of varada and Abhaya She holds plough and club. She is tusked, broad bodied, dressed in black garment and buffalo is her mount.[32]According to Aparājitapraccha, Varāhī is described as boar faced and riding on a buffalo. She holds akșamālā, khaḍaga, ghanṭā, and kamanḍalu.[33] Varāhī in Figure 9 has been dated around 10-12^th century. It is found from Mungthala in Sirohi. She is sitting upon a buffalo and in her four arms are holding gadā, śankha, cakra and holding child with one hand. Figure 10 is from Chandravati. Her face resembles to Varāha and has four hands. She holds a hala, khapar, akșamālā and kamanḍalu. 

Figure 9

Figure 9 Varāhī from Mungathala, at Present in Ajmer Museum

 

Figure 10

Figure 10 Image of Varāhī from ruins of Chandravati temple

 

7)    Cāmuṇḍā

According to Matsya Purāṇa, She holds a sharp sword, long tongue, hair standing upward with fragmented bones. She should be depicted with a tusked, terrifying face and wearing garlands of skulls. Skull in left hand and spear in the right hand,seated upon vulture or crow. Cāmunḍā is clad in tiger’s skin, Kālī is naked and Kapālinī rides a donkey[34]

According to Mayamatam, she holds a skull and trident, hands in varad and abhaya gesture. She is eight-armed, bearing trident and skull. In her left hand she carries staff, bow, sword, shield, noose, and arrows; also, a drum and trident. mace, bow, sword, shield, noose and arrow. Her emblem is the vulture. She possesses three eyes, all completely red. She wears garlands of heads as sacrificial thread. Her mount is a corpse. Her other features: thin-bellied, fleshless-faced, skeletal mouth is wide open, tongue is long, clad in tiger skin, with flaming hair and serpent as her ornaments, she is kālī-emaciated, dark complexioned and dwells beneath banyan tree and her face is terrifying and tusked.[35]

According to Agni Purāṇa, Cāmuṇḍa is depicted with hollow eyes, fleshless, three eyed, skeletal in essence, with hair standing upwards and a thin belly. She wears a tiger’s skin, and in her left hand she holds a skull and spear.[36] According to Rupamanḍan, she appears dreadful, with tusks, an emaciated body and hollow eyes. Her arms extended in all directions, a thin belly and bears weapons such as club, discus, arrow, elephant goad, sword, shield, noose, bow, staff and axe. She moves among corpses, red-hued with deformed face, fierce in nature.[37]

Figure 11 of Cāmuṇḍa from Chandravati belongs to 11-12 century. This is a white marble image. It has eight arms and three eyes. In her right four arms, she holds a triśula, ḍamru, akṣamālā, and khaḍaga; in the four left arms she holds cup of skulls, khaṭwānga, skull and sucking blood with her lower finger. Corpse is shown below the image. She is wearing skull garland also. In region of Sirohi district, most of the images of the Cāmunḍā shows the goddess sucking blood with the lower finger of her left hand.

Cāmuṇḍā is considered one among the saptamatṛkās and aṣṭamātṛkās. Cāmunḍā is one of the most venerated goddesses in all over the Rajasthan. She is not only worshipped together with the seven mātṛkā but also venerated independently in her own right. In Chandrāvati, there are a number of Cāmuṇḍā images. They can be seen alone and also in groups. The image of Cāmuṇḍā can be seen in the temples of Nilakaņța-Mahādeva at Nana, Somanāth in Pali, and in Belar temple.[38]

We have separate temples of Cāmuṇḍā; for example Suṇḍā Mātā temple is dedicated to Cāmuṇḍā Mātā. We have in Achalgarh many images of the goddess Cāmuṇḍā and a separate temple is dedicated to the goddess Cāmuṇḍā there too. Figure 12 is depicted on the outer wall of Kiradu temple of Badmer. As we can see, most of the sculpture is broken, but we can still see the corpse lying down at the feet of the goddess. Figure 13 is of the goddess Cāmuṇḍā from the temple of Harihara II, Osian. This image depicts the war of Cāmuṇḍā with Caṇḍa and Muṇḍā and she is killing to the demon. She has four arms: in the upper right is a triśūla, and in the lower right is skull cup. The upper left holds a noose and the lower left holding the head of the demon.

Figure 11

Figure 11 Cāmuņḍā (9th-11th Century CE) Chandravati

 

Figure 12

Figure 12 Image of Goddess Cāmuņḍā from Kiradu Temple, Badmer

 

Figure 13

Figure 13 The image of the goddess Cāmuṇḍā from the temple of Harihara II, Osian

 

2. Conclusion

Saptamatṛkās are known as ferocious as well as boon giver goddess. They get a very important place in the early medieval period due to the increase in tantric practices. Iconography of these goddesses reveals them as the counter part of their male deity. Sculptor has not followed strictly any particular prescriptive text while making Āyudh in their hands. In most of the figures discussed earlier, we can see that out of four hands one is engaged in holding Kamanḍal and other in grating boon. It is also very much evident that by the 8^th-9^th century CE, planetary iconography got its standardized form holding kamanḍala and gesture of granting boon. Kamnḍala symbolize to the inner purification, spirituality and detachment. Graha and Mātṛkā both got the place at the lintel of the entrance at the same time. So kamanḍala it is not the result of the textual prescription but of the Brahmanical approach which transform the aggressive and violent behaviour of these Mātṛkā into benevolent goddess. Many trees are associated with these goddesses which again help to assimilate the tribal culture in the main stream.