nama rupa srsti mula avidya pratipaditva Rise of the Goddess in the Hindu Tradition The - Scribd Whereas

avidya represents ignorance of the true nature of Brahman ...... [T]he almighty goddess represents name and form ( namarupa).74 .... The goddess Srsti continues to play a significant role on the level of secondary creation as well. ...... Larson, Gerald J. , Pratapaditya Pal, and Rebecca P. Gowen The goddess Parvati is worshiped in the Hindu tradition for her affection and beauty. Her name denotes she who dwells in the mountains. (Kinsley 41). Parvati is one of the many consorts of Siva, a powerful Hindu god who resides in the mountains. There are many different identities depicted of the goddess. People who view Parvati as the auspicious goddess, call her Sarvamanagala (Smith 50). Parvati is also represented as Ambika, which refers to her role as a mother, and as Girija, the daughter of the Himalayan mountain deity. She is also referred to as Kali, a goddess who is known as the dark one. This is because Parvati has a dark complexion (Kinsley 42). As well as the diverse names that describe Parvati, there are many songs, stories, stone carvings, and Pahadi paintings of the goddess. The mythology of Parvati is largely based on her relationship with Siva. Her association with Siva is described as essential in order for cosmic reproduction to occur, which entails the preservation of the world (Kinsley 41). Sanskritic manifestations derive from the Vedas, which are developed in the Puranas. Dravidian manifestations draw from Tamil country origins, which describe distinct characteristics of the mythology of Parvati. Lastly, autochthonous tradition, also known as the folk tradition, includes legends and folk stories about Parvati (Dehejia 12). Although diverse, together, these traditions formulate a good interpretation of the goddess and describe Parvati as a dedicated and loving wife. (Dehejia 39). In the Sanskritic tradition, as described in the Puranas, Parvati is a reincarnation of Sati (Kinsley 37). The goddess Sati was the first wife of Siva who takes her own life in a yajna sacrifice. The gods were concerned with Sivas state of isolation from others. Thus, they felt that Parvati was destined to marry Siva (Dehejia 16). Himalaya, the father of Parvati, stated that in order for Parvati to become the wife of Siva, she must complete penance. However, Parvati had

difficulty performing penance which led to her father asking Kama, the God of love, for assistance. Kama shot arrows at Siva, which in return, angered him. Siva burned Kama to ashes and this deeply hurt Parvati. Parvati escaped to the mountains where she performed austerities (Dehejia 19). These austerities were so frequent and intense that Siva became allured by Parvatis physical appearance. The marriage of Siva and Parvati is subsequently arranged. Their marriage and family status is described as peaceful and pleasant. Siva and Parvati spent their time sitting on Mount Kailasa, while conversing about Hindu philosophy and engaging in sexual activity (289). However, there were times when the marriage was a challenging endeavor. Parvati and Siva would quarrel and offend each other. At times, Siva behaved so poorly that Parvati would leave him. Siva would often make comments about Parvatis dark skin, and gave her the nickname blackie. Parvati removed herself from the household and settled in the forest, where she performed austerities (Kinsley 44). The legend, the Varaha Purana, states that the devi did this until Brahma granted her wish of changing her complexion from dark to golden. Regarding the family life of Parvati and Siva, Parvati wanted and eventually gained a son to protect her from intruders coming into her apartment (Kinsley 44). At one point, however, her son would not let Siva enter the apartment. This angered Siva, who spoke of the lack of auspiciousness in Saturn, which led to the beheading of the child. The childs head was later replaced with the head of an elephant and was named Ganesha. Parvati had two more children, Kartikaya and Andhaka. In the Sanskritic tradition, Parvati is described as being a devoted wife and mother to her sons (Dehejia 25). Parvati, in the Tamil tradition, is similar to the Sanskritic tradition because it places an emphasis on the bond between Parvati and Siva. In the 4th century, the Tamil region was ruled by Jains, and the Hindu tradition arose in the 5th century (Dehejia 26). This mythology is largely derived from the Silappadikaram and Manimekalai epics from Sangam literature. Like the Sanskritic tradition, the marriage between Siva and Parvati is an important component in both

traditions; however, Tamil mythology is mainly based on Parvati and her manifestations. In the Sanskritic tradition, Siva is characterized as being powerful figure and Parvati is known as his loyal consort (Dehejia 28). In the Tamil tradition, Parvati has a split personality. There is the southern goddess, who is depicted as being dark and violent, and then there is the northern version of the devi, who is romantic and quiet (Dehejia 34). The folk tradition includes the adivasis group. This tradition includes characteristics of Sanskritic and Tamil, but still possesses some differences. For example, instead of worshipping one particular god, the folk worship Parvati is a mixture of the 4 other consorts of Siva. Thus, the folk tradition views one goddess as having many notable features, such as affection, power, and beauty. According to the folk tradition, Khandoba and his consort Mahalsa are the equivalent to Siva and Parvati in the Sankskritic tradition. Khandoba is a deity known as the killer of demons and like Siva, this god is associated with the mountains (Dehejia 35). Mahalsa is a reincarnation of Mohini, whom Khandoba was deeply drawn too. Parvati is adored by painters, poets, and musicians for her divine beauty. The goddess is worshiped in images both with and without Siva (Smith 52). Literature such as the Puranas is known to be one of the earliest and most popular depictions of Parvati. In this script, her life and relationship to Siva are expressed (Dehejia 43). The poet Kalidasa wrote Kumarasambhava, which describes the alluring devi. Along with literature, there are many songs written about Parvati that are mainly sung by women (Dehejia 57). Many women sing about the time in her life when the goddess left the home she was born in to her home in Kailasa. Along with literature and songs written about Parvati, there are also many images depicted of the goddess that are highly valued pieces of work. Temple images of Parvati and her consort Siva are worshipped four times a day (Smith 51). There exists special festivals in honor of Parvati. For example, in a temple once a year, the marriage of Siva and Parvati is re-enacted (Smith 52). The most popular marriage re-enactment occurs during the Caitra month (April-May). Another festival that honors

the goddess occurs throughout nine days. This gathering, known as Navaratri, occurs in Asvayuja (October-November), and is said to be her time (Smith 51). There are various images depicted of Parvati. Many images express the bond between Parvati and Siva. Some icons portray Siva as the possessor of Sakti (cosmic power), known as saktiman and Parvati as Sakti. One well known image of Parvati and Siva is the Ardhanarisvara. This image was developed in the 10th century and is made of sandstone (Dehejia 73). It depicts a half male and half female being, which accentuates the interdependent relationship between the goddess and her consort (Kinsley 50). Another icon of Parvati and Siva is known as the Wedding of Siva and Parvati, which was created in the 17th century and is made of ivory (Dehejia 82). In the image, Parvati is offering her right hand to Siva during their wedding ceremony. This icon represents the feelings of bliss and anticipation that were experienced during this festive day. Along with the many images depicted of Parvati and her unification with Siva, other illustrations relate to stories and songs in the Puranas, the Hindu culture, and other festivals and rituals (Dehejia 62). Although Parvati has little responsibilities as a goddess, she has gained respect and adoration throughout India. The devi is a devoted mother and wife. She is worshiped for her exquisite charm and the love she shares with others (Kinsley 41). Thus, Parvati deserves recognition for representing all that beautiful, both physically and spiritually. Agni Arjuna Devi Durga Puja Dyaus- pitr Ganesa Indra Kali Rg Veda Sakti Siva Soma Surya Mahabharata

Varuna Vayu

In Hinduism, the Supreme Reality (Brahman) manifests itself in both male and female form. Every major god has a goddess counterpart (or consort), and many Hindus worship the Great Goddess exclusively. Although in the Chinese yin-yang duality, the feminine side is dark and passive, in Hinduism the feminine is highly active. In fact, the word for "goddess" in Hinduism is shakti, which also means "power" or "energy." Followers of Shakti or Devi, the Great Goddess, are called Shaktas. Just as the masculine aspect of Brahman is manifested in several different gods, so does the feminine aspect of the divine take more than one forms. This article outlines the major Hindu goddesses, all of which are manifestations of Shakti.

Sarasvati: The Hindu Muse

Sarasvati (also spelled Saraswati) is perhaps the most ancient goddess that is still widely worshipped today. She is the Hindu muse: the inspiration for all music, poetry, drama and science. Musicians pray to her before performing and students ask for her help before taking a test. She is the wife or consort of Brahma, the creator god who is rarely worshipped anymore. In statues and paintings, Sarasvati is fair-skinned and dressed in white to symbolize pure illumination. She rides a swan or a goose, and has four hands: in one she holds a book; in another she holds prayer beads (because she is the source of spiritual knowledge, too); her other two hands hold a vina, a sitar-like musical instrument. Not suprisingly, Sarasvati is especially revered by students and teachers. At the beginning of spring (January-February), her image is taken out in a jubilant procession. She is also a popular goddess in Jain and Buddhist mythology.

Lakshmi: Gentle Goddess of Wealth and Prosperity

Lakshmi is the goddess of wealth, so naturally she is quite popular. But she provides not only material wealth, but also good health and a joyful family life. She was born from the milky ocean seated on a lotus and holding a blossom in her hand. In Hindu art, she is full-breasted, broad-hipped and smiling kindly. She wears red sari and coins rain down from two of hands. In her other two hands she holds lotuses, representing the spiritual gifts she bestows. She is often shown seated on a lotus and being anointed by two elephants. Her vehicle is the white owl. Lakshmi's husband is Vishnu, who metes out punishment, but Lakshmi is kind and always intercedes with Vishnu on behalf of her followers. In this role she might be compared to the Blessed Virgin Mary in Catholicism. Although Mary is a saint, not a goddess, she is believed to ask Christ the righteous judge to go easy on her devotees. According to Hindu mythology, Vishnu has manifested himself in human form 10 times. In each of his incarnations, his wife Lakshmi has accompanied him: she was Padma to his Vamana, Sita to his Rama, Rukmini to his Krishna. The love stories of these divine couples are among the most beloved tales in Hinduism. Lakshmi is worshipped by many modern Hindus, usually in the home every Friday and on festival days throughout the year. She is also highly revered in Jainism.

Parvati: Wife of Shiva, Mother of Ganesha

Parvati is the dark-skinned wife of Shiva and the mother of Ganesha and Skanda. According to Hindu tradition, Shiva was once married to Sati. Tragically, Sati committed suicide by jumping into a fire, and Shiva could not be consoled. The distraught widower never wanted to marry again. However, years later, a young women named Parvati ("Daughter of the Mountain") committed herself to living an austere life of meditation to win over Shiva. She meditated in the Himalayas for years, not budging through driving rain, blistering heat, or elephant

stampedes. But one day, she heard a child cry in suffering and she immediately sprang up to help. But it was Shiva, testing her resolve. She had failed the test, but he was so touched that she would give up what she desired most to help someone in need that he took Parvati as his wife. By some accounts, Parvati was Sati in a former life. Parvati is depicted in art as a mature and beautiful woman, usually with Shiva. The Tantras are written as a discussion between Parvati and Siva.

Durga: Warrior Goddess

Durga is a fierce warrior goddess. She is depicted in Hindu art as riding on a lion or a tiger, brandishing a varity of weapons and attacking the buffalo demon Mahisha. Her battles against evil are told in the popular Hindu text Devi Mahatmyam (Glory of the Goddess), and it is said that hearing the stories cleanses one from sin.

Kali: The Scary One

In Hindu myth, Kali sprang from the furrowed brow of Durga when the latter could not defeat the demon Raktabija. Every time Durga struck the demon, drops of blood would fall the ground and form another demon. Durga was getting frustrated, but Kali took care of it. She stuck out her tongue and caught all the drops of blood, then ate the demon right up. Kali's name means "She who is black." She is generally depicted half-naked, with a garland of skulls, a belt of severed limbs and waving scary-looking weapons with two of her 10 hands. She is often dancing on a prostrate Shiva, who looks up at her admiringly. Two of Kali's hands are empty and in the mudras (gestures) of protection and fearlessness. Her tongue is stuck out to swallow up evil and negative thoughts. In mythology, iconography and devotion, Kali is associated with death, sexuality, violence and, sometimes, motherly love. She was probably adopted from the tribal mountain cultures of South Asia, though never quite tamed. She continues to be an intriguing, paradoxical figure. She has sometimes been the object of devotion of violent cults, the most common modern Hindu perspective of her is largely symbolic. She is revered for her no-nonsense way of eradicating negative thoughts and bad habits in the minds of her followers. In other words, she will lop off your inflated ego in no time flat if you ask her, and she offers no guarantees that the process will be painless.

Dasha Maha Vidgas: Ten Great Goddesses

In addition to the above goddesses, who are worshipped publically and communally, there are ten goddesses who are worshipped privately by yogis and mystics

Praise for Shakti Mantras Shakti Mantras by Thomas Ashley-Farrand . . . combines his knowledge as an American Hindu priest, [his] adventures as an experienced spiritual guide, [his] considerable storytelling gifts . . . and the immensely practical, useful knowledge of what chants to use when. In his disarmingly unpretentious and accessible style, Ashley-Farrand draws on an enormous body of knowledge from ancient traditions to art and literature and contemporary science. . . . Shakti Mantras is an appealingly modest treasure, which everyoneman, woman, young, older, novice, adeptcan enjoy. Its as embracing and supportive as a good mother, as entertaining as a teasing sister, and as rewarding as a loving partner. DOE LANG, Ph.D. Columnist, DBR Media, Inc.

Author of The New Secrets of Charisma In the face of difficulty, confusion, or imbalance, there are moments when you may just want to lie in your mothers arms. Thomas Ashley-Farrands Shakti Mantras takes you right to the heart of Divine Mothers energy. From that place of nurturing peace that we all have within, things have a way of working themselves out. What a blessing! IYANLA VANZANT Author of In the Meantime and One Day My Soul Just Opened Up Ashley-Farrand throws light on some important secrets. . . . Shakti Mantras is a comprehensive work presenting an easily readable account of a range of cultures, mantra practices, and spiritual traditions. [It] provides a wealth of information that can lead to a most rewarding life experience. The mantras are presented in an easy way to pronounce for a Westerner. DR. SARASVATI MOHAN Director, Sanskrit Academy

From the Inside Flap

SHAKTI MANTRAS Tapping into the Great Goddess Energy Within Enhance your spiritual gifts Lighten your karmic burden Improve your health and increase prosperity Live in harmony with the universe Now, with Shakti Mantras, we can all benefit from this ancient practice. Thomas Ashley-Farrand, a Vedic priest, is an American expert in the intricacies of Sanskrit mantra. With nearly thirty years and thousands of hours of experience in chanting, he is supremely well-equipped to write the first book that teaches women (and men as well) to tap into the dynamic feminine energy of love in all its manifestations. By sharing enchanting Hindu myths and astonishing true stories from his own practice, Ashley-Farrand helps us to understand the real power that this age-old art awakens in those who perform it. Through dozens of actual mantraseach one presented with phonetic spelling for easy pronunciation and recommendations for specific applicationshe enables us to increase our "shakti" (power) and use it to solve problems, ensure abundance, create health and well-being, summon protection, and invoke personal and universal peace. Whether you're new to chanting or an old hand, Shakti Mantras will take you places you've never been before . . . and measurably enrich your life.

The Rise of the Goddess in the Hindu Tradition

Tracy Pintchman 0 Reviews

State University of New York Press, 28-Oct-1994 - Literary Criticism - 288 pages This book explores the rise of the Great Goddess by focusing on the development of saakti (creative energy), maya (objective illusion), and prakr(materiality) from Vedic times to the late Puranic period, clarifying how these principles became central to her theology.