INTRODUCTION The cult of the goddess or Devi in India has been a long standing one.

In a culture where approximately 70 percent of the population survives on agriculture, vitality and fertility of the land takes precedence other aspects. Tied so vitally to the land people have always felt a need to understand the cycles of nature. Sympathy with the earth and its essential fertility comes as second nature to most of the inhabitants of the subcontinent. This lore, handed down from generation to generation has led to the deification of the earth and an analogy between the earth producing crops and the fertility of a female bringing forth an offspring. In India the power of the feminine is most celebrated though probably not restricted in philosophy of Hinduism. A vast number of different goddesses are worshipped and are generally referred to as Devi. The Word Devi means no more than a Goddess. Because of the connection between fertility of the earth and female reproduction, the goddess is often referred to as the mother or Matrika. In Hinduism there has for a long time been a belief n a female goddess whose charge is fertility and by extension prosperity. However, there are also other goddesses whose role is much more specific and less concerned with productivity. For instance the powerful goddess Shitala Mata who is invoked against small pox is believed to protect the supplicants from the disease. Another characteristic common to most goddesses is their connection with the life-giving blood. In fact the first instance, many goddesses require bloodsacrifice, and are frequently depicted drinking the liquid from a skull cap and sometimes groups of terrifying goddesses who haunt battlefields are shown smeared with blood. Blood, Fertility and action - all hallmarks of the goddess are probably exemplified in the group of seven goddesses or the Saptamatrikas. MYTHOLOGY The origin of the Saptmatrikas is so to speak, seeped in blood. According to the Mahabahrata when Prahalada, a great devotee of Vishnu (the preserver of the world, part of the Hindu trinity of Brahma, Shiva and Vishnu) renounced the worldly life, Andhakasura became the chief of the Asuras or demons. By practising austerities he obtained boons from Brahma (the creator of the world in the trinity) which made him powerful. Thereafter he began to harass the gods. The helpless gods approached Lord Siva (The destroyer in the trinity) to help them. In the meantime, the demon Andhakasura appeared suddenly with the intention of carrying away Shivas consort Parvati. In a fit of anger Shiva began fighting the demon and shot him arrows, wounding him profusely. Blood began to

flow from these wounds and from each drop of blood came another Andhakasura and there appeared thousands of Asuras who battled Shiva. Seeing this, Indra (the god of thunder and bearer of the lightning bolt) and the other gods sent their Saktis (female powers) to kill the Asuras. The Saktis were Maheswari, Vaishnavi, Brahmani, Kaumari, Indrani, Varaha and Chamundi the female counterparts of Maheswara or shiva, Vishnu, Brahma, Kaumara, Indra, Varaha and Yama respectively. The Seven Matrikas drank each drop of blood issuing from the wounds of Andhakasura and stopped further multiplication of the demon, helping Shiva to finally kill him. According to the Devi mahatmaya in Markandya Purana, the Matrikas helped the goddesses Ambika and Chamunda to kill the Asura Raktavija, an ally of the most powerful demon king Sumbha. Every drop of blood that oozed out from the wounds of Raktavija produced a demon equal to him. Then the Saktis negated each drop of blood till he became helpless and was finally slain. In both the Myths mentioned above there is the association of the Matrikas with blood and their characteristics described are more malevolent than benevolent. Their creation itself was with the intent of devouring blood. However, in the kurma purana we find that their characteristics undergo a change and they are depicted to have benevolent qualities. According to the text, once their purpose was achieved there arose the problem of how to send the Matrikas to patalalioka(abode of tamasic or destructive forces). The God Vishnu Narashima (one of the ten manifestations of Vishnu) was approached with a request to transform the malevolent nature of the Matrikas to that of benevolence and since then the Matrikas were reinstated as protectors, especially of children and pregnant women. A vast number of other texts also mention the Matrikas and their origin. In the Isansivagurudeva-paddhati, the Matrikas were created to help lord Shiva in his fight against the demon Andhakasura same as that mentioned in the Mahabharata. The difference however lies here in the addition of another goddess - Yogeshwari who shiva creates to help him fight the Demon chief. The Goddess, Yogeshwari, created from flames issuing from Shivas mouth starts devouring the blood oozing from Andhakasuras wounds. Seeing this Bramha, Vishnu, Maheshwar, Kumara, Varaha, Indra and yama also send their Saktis to help Yogeshwari in stopping the flow of blood. Thus were born the Saptamatrikas. According to the text Suprabhedagama the Matrikas are said to have been create by Brahma to kill the Asura Nirrita. The Devi Purana mentions a group of sixteen Matrikas and another six other types of Matrikas, apart from the Saptamatrikas. It introduces the Loka-

matara (mothers of the world), a term used in the Mahabharata, in the very first chapter. Kind to all creatures, the Matrikas are said to reside in various places for the benefit of children. The text paradoxically describes the Matrikas as being created by various gods like Brahma, Vishnu, Shiva, Indra as well as being their mothers. Devi Purana describes a pentad of Matrikas, who help Ganesha to kill demons. Further, sage Mandavya is described as worshipping the Mrpacaka (the five mothers) named Ambika (Kaumari), Rudrani, Chamunda, Brahmi and Vaishnavi and who have been established by Brahma; to save king Harishchandra from calamities.

ICONOGRAPHY As per the Tantra shastras (Svachanda Tantra & Yoginihridya) the Matrikas are stated to be seated in the lalita-asana. They are adorned heavily with ornaments, necklaces and circular earrings. Except for Kaumari, Varahi, Vaishnavi and Indrani who are adorned with Kritamukuta or crowns- the other Matrikas in the series are yellow complexioned. Brahmani has four faces. Two of her arms are in the Abhaya(fearless) and Varada(boon giving) pose, while she holds two of the three attributes a Pasa(noose) and a lotus Stalk of Kamundala in other two hands. For ornaments she wears Akshamala and Kundala. She has the Hansa (Swan) as her vahana. In Vishnudharmothara she is described as having six hands, the left hands are described showing the abhaya mudra, holding Pustaka and Kamundalu. But the right hands are shown with the Varadha Mudra, holding the Sula (spear) and Sruva (sacrificial ladle). Maheshwari is white complexioned and has three eyes (trinetra). In her two upper hands are the Damaru and Trisula while in the lower two she holds Akshamala and Panapatra or an axe and antelope. He Vahana is Nandi, the bull. Two of her arms are in the Abhaya (fearless) and Varada (boon giving) pose. In Vishnudhermottara there is a description of Maheswari having five faces with Three eyes who wears in her crown the crescent moon. Kaumari is yellow complexioned and has six heads like Kartikeya. She holds the Parasu and Chopa in the upper two hands and Sakti and Tanka in the lower two. At times, two of her arms are in the Abhaya (fearless) and Varada (boon giving) gestures. Her Vahana is the Peacock (Mayura). In Purvakaranagama, it is written that goddess should be so sculptured as to suggest the idea of valour and courage. According to Vishnudhermottara, she is described as having six faces and twelve arms. In her hands she holds the Sakti, Dhvaja, Danda, Dhanus, Bana, Ghanta, Padma, Patra, and Parasu. Vaisnavi is dark complexioned and holds in her two upper hands the Sabka(conch) and Chopa while the lower left and right hands hold the Padma (lotus) and Gada (club) respectively. Her vahana is the Garuda (vulture).

The Vishnudharmottapurana states she has six hands characterized by the right holding the Gada, Padma and Abhaya Mudra and holding the Sankha, Chakra and Varada Mudra. In Devi-Purana, she is represented as possessing four hands in which she carries Sankha, Chakra, Gada and Padma. Varahi is also dark complexioned, with a human body and a boars head decorated with a Kiritamukuta. Her upper right hand holds a Danda (staff) and the upper left holds the Ankusa. The lower right hand wields a Vajra or sword while the lower left hand has a Panapatra. Her vahana is the Buffalo. The Vishnudharmottara Purana describes Varahi as having six hands, in four of which she carries the Danda, Khetaka, Khadga and Pasa. The two remaining hands are held in the Abhaya and Varada Mudra. The PurvaKaranayama says that she carries Sarnga-Dhanusa, Hala and Musula as her Weapons. Some texts also describe her as wearing a Karanda Mukuta (?) Indrani or Aindri is the dark complexioned one. In her upper two hands the goddess is shown holding the Ankusa and the Pasa while the lower right hand holds a lotus stalk, and the left has the Vajra or thunderbolt. Her Vahana is the elephant. She is described as having two or three eyes. According to the Vishnudhermottara, she should have a thousand eyes (like Indra) and a golden complexion with six arms. She said to be holding the following attributes - Sutra, Vajra, Kalasa and Patra. Chamundi is black coloured with an emaciated body with pendant breasts. Three eyes, sunken and a terrifying face with a grin. She wears a Mundamala (garland made from human skulls). She has a heavy Jatamukuta tied with a serpent and her four hands hold Damru, Trisula, Khadag and Panapatra. Her Vahana is the Jackal. According to the Varaha-Purana, the Matrikas are eight in number the last one being Yogeshwari who has four hands holding Damru, Trisula, Khadag and Panapatra same as that of Chamundi. Her vahana is a lion with a raised paw and a curled tail. SAPTAMATRIKAS IN TEXTUAL SOURCES & INDIAN SCULPTURE TEXTUAL SOURCES The Saptamatrikas are mentioned in the Rigveda, Gobhilasmriti, Matsya Purana, Svachanda Tantra, Yoginihridya etc. Varamihiras Brihatsamhita mentions about the images of the Matrikas. The Krityarantnakara refers to the sculptures of the Saptmatrikas. The numbers of Matrikas also vary, being from three, seven, and eight to even sixteen in some texts. This probably happened owing to the increasing importance of the Matrikas in the medieval society. However, the Iconographic texts give us the detailed description of seven Matrikas that is Maheswari, Vaishnavi, Brahmani, Kaumari, Indrani, Varaha and Chamundi. SCULPTURE A. KUSHAN PERIOD (1ST TO 3RD CENTURY A.D.) The sequence of development of the Sapta Matrikas can be traced from Kushan period (1st to 3rd century A.D) to Pallavas and Cholas (7th to 9th century A.D.)

Professor C. Sivaramamurti in his book Art of India says The Matrikas (the seven goddesses), which appear often in early medieval sculpture, have in their earliest appearances in the Kushan and Gupta periods, a very sweet and natural treatment. Even Varahi has a charming human countenance, and Chamunda is not hideous. 1. A stone slab of the early Kushana period, from Dhanagaon near Mathura now in the Mathura Museum, represents the Matrikas as either standing or seated in the Bhadrasana with their right hands held in Abhaya Mudra while the left holds the Kamundala. The depiction in these is that of simple female figures without any attributes or symbols. All of them wear ear pendants, bracelets, anklets and are attired in a skirt in place of usual dhoti.They are flanked on either side by a male figure (Ayudha-Purusa) with his right hand in Abhayamudra and a long spear held in his left hand. 2. Another Stone slab belonging to the Kusana period from Jamalpur is in the Mathura Museum. It has five out of the seven Matrikas preserved along with one of the Ayudha-Purushas, standing on the right with a spear in his left hand. Here too, the divine mothers are without their iconographic attributes as per the Markandya purana. Unlike the earlier Slab from Dhanagaon these Matrikas are all seated in a row. A further step in the evolution of these images was the representation of a child in each ones lap in various attitudes possibly marking their benevolent characteristics and protector of children. 3. A relief found from the Kusana period, from a garden near Kankali Tila, Mathura has shows the divine mothers seated to front with their feet placed on foot-stools. Even then, the figures right hands are continued to be shown in Abhaya mudra while the child sits on the left lap. The last step in the evolution depicts the Matrikas with distinguished vehicles and attributes. 4. Pratapaditya pal comments on a relief with three goddesses carved from mottled red sandstone (2nd century A.D) found in Mathura, Uttar Pradesh Triads of goddesses are not unknown in kushan Mathura. [] a group of six, however, could represent the six Kritikas or Pleiades who suckled the infant kumara after his birth or they could be identified as six mother goddesses who later came to be regarded as a part of the Saptamatrika group. 5. Another relief from this period now kept in the Mathura museum, Represent only three of the divine mothers, each with a child, but in various attitudes. 6. Yet another relief shows 5 mother goddesses with a child in the lap, but what is noteworthy here is that the mother goddesses are not distinguished from their attributes or vehicles but by the different animal faces borrowed from their respective Vahanas or vehicles. B. GUPTA PERIOD (3RD TO 6TH CENTURY A.D.)

During the medieval period, the Matrikas were carved either as a group or independently as one or two goddesses on a pedestal. The Saptamatrikas were generally carved in relief on a rectangular stone slab in the sequential order of Brahmani, Maheshvari, Kumari, Vaishnavi, Varahi, Indrani and Chamunda, being flanked by two male figures - a terrible form of Shiva (Virabhadra) and his son Ganesha in both sides (first - on their right and last - on their left). 1. At the Badoh Pathori rock cut caves (4th to 5th century, early Gupta Period) in Vidisha, Madhya Pradesh, we find representations of the Astha-Saktis or Ashta Matrikas and independent Matrika images as well. In this panel the first goddess to Shiva, seems to be holding a lotus stalk in her left hand. She may represent Brahmani, though there are no Vahanas in this panel and so she could also be Indrani or Aindri. Next to this figure is that of Maheshwari and then appears Vaisnavi holding a mace like object. The 5th, 6th and 7th figures are beyond identification due damage to the faces. But last figure appears to be Chamunda as she has an emaciated body and a bowl is placed at her resting feet. There is no preta or anpse under her feet. Ganesha flanking the matrikas along with Shiva is missing in this panel. This Panel is probably the beginning of the Saptamatrika cult in the Gupta Period. Matrikas has been found in the Udaigiri caves of Bhopal as well, dating back again to the early Gupta period. The sculpture of Matrika found in Samlaji (North Gujarat, 5th century A.D.) is probably that of Indrani or Aindri. O.P Mishra says The thrust of the body and limbs is conceived with a wonderful intentive sense of sculpture...[...]... mother goddesses or Matrikas of the 5th century A.D. in fact with periwigs and elaborate jewel clad costumes are characteristic of the classic Gupta art. This sculpture today is at the Baroda museum. The Smaller cave at Elephanta has a panel of Ashtamatrikas, all in standing pose, flanked by Ganesa and Kartikye. The panel can be dated back to 550 A.D. The Vahanas of the Matrikas are found at their back mounted on a staff. According to O.P Mishra, in the sixth century Rameshvara cave at Ellora, we can see a departure from the prescribed iconographical rules. The goddesses are single faced, including Brahmni who is supposed to be depicted with four heads, three of which are visible. The distinguishing factors here are only the lakshanas or emblems and the weapons. Kaumari is depicted with a child on her lap and Varahi is depicted with a human head, rather than the usual boar one. This panel possibly dates back to the 6th century A.D. In a Saptamatrika Panel from Deogarh (Lalitpur) Uttar Pradesh, the Matrikas are shown seated with their respective Vahanas and are flanked by a Vinadhari Shiva and Chatushmukhi Ganesha. According to O.P Mishra this panel is from the later Gupta period.

2. 3.

4.

5.

6.

7. Saptamatrikas have also been reported from Nandchand of Panna District Madhya Pradesh. The goddesses are Kaumari, Vaisnavi and Indrani. Artistically, O. P Mishra Places them in the Gupta period, 6th Century A.D. 8. An interesting sculpture of the Matrika Brahmani from the Gupta period (5th century A.D), found in Kota, Rajasthan is now preserved in the Central Museum Gwalior. The Matrika is shown in a dancing posture. Her Face (maybe single faced) breast and hands are broken while her Vahana the swan is indistinctly visible. 9. The earliest Sculpture of goddess Kaumari in Central india is Preserved in Central archaeological Museum Gwalior. She is depicted in a dancing pose holding a Sakti with right hand, and a Padma with the left. Her vahana the peacock stands on her right. It is dated to 5th century A.D. 10. One of the earliest sculptures of the Matrika Indrani is from Hinglajgarh (Mandsaur) and now preserved at the central Museum, Indore. It is carved in red stone and dates back to 4th century A.D. She is shown with two hands holding the Vajra in the right and a child in the left hand. She wears a circular Karnaphula, three stringed Katisutra and Haras with loose large Vanamalas. She wears a kiritamukta on her head and is shown with a Kuchabandha, with a knot in the middle of the upper garments, while the lower garment consists of a sari. The Prabhamandala is decorated with pearl earrings and lotuspetals. 11. A Varahi sculpture dating back to the 4th century A.D and also recovered from Hinglajgarh (Mandsaur) is very close to the above mentioned Indrani sculpture in iconography, possible proving that they are part of the same Saptamatrika panel. She holds a Danda and fish with her hands. 12. In the state Museum of Mathura, a Varahi Sculpture with four hands, holding weapons like the sword, a dagger and a Khatvanga. Instead of her Vahana, we see a dead human body under her feet, a peculiar feature for this deity. This date backs to the late Gupta period. 13. Another Varahi sculpture also from the late Gupta period, recovered from Uttar Pradesh and now preserved in the British Mueseum (London) has the snout of the boar and a female body. She is 4 armed, holding a child seated on her left lap. She is mounted on her Vahana, the buffalo. 14. An early sculpture of Chamunds has been reported from Malhar (Bihar). She is shown seated in the pretasana and displayed in the Lalithasana posture. Her keshabandha is folded with Sarpamundamala. She wears the Sarpakundala, Sarpahara, and the long Mundamal, Sarpakatibandha, Keyuras. It is carved on the Silapatta of sandstone and can be ascribed to 5th century A.D.

TABLE OF THE SAPTMATRIKAS CITED IN VARIOUS TEXTUAL SOURCES. BRAHMANI MATRIKA Literature Agni Purana Amsamadbhedagam Matsya Purana Matsya Purana Rupamandan Heads Chaturmukhi Chaturmukhi Hands Chaturbhuja (four) Chaturbhuji (four) Chaturbhuji (four) Chaturbhuji (four) Chaturbhuji (four) Ayudhas Akshamal, Pali, kamanadalu Abhaya, Sula, Akshamala, varad Akshamala, Kamandalu. (2 &3 are not clear) Akshasutra, Kamandalu Akshasutra, Pali, Akshasutra, Pali

MAHESWARI MATRIKA

Literature

Heads

Hands

Ayudhas

Agni Purana

Chaturbhuji (four)

Bana, Dhanusa, Chakra, Dhanusa Sula, Abhayamudra, Varadamudra, Akshamala Sula, Abhayamudra, Varadamudra, Akshamala Kapala, Sula. Khatvanga, Varadamudra Kapala, Sula. Khatvanga, Varadamudra Khadaga Vajra, Trisula, Parasu, Abhaya, Ankusa, Pasa, Ghanta, Naga, Ankusa

Amsumadbhedagam

Trinetrajata

Chaturbhuji (four)

Purvakamikagama

Trinetra

Chaturbhuji

Matasya Purana

Jatamukuta, chandrakala

Chaturbhuji

Rupamandana

Chaturbhuji

Sritatvanidhi

Panchamukhi Trinetra with CHandrakala on her head

Dasabhuji

KAUMARI MATRIKA

Literature

Heads

Hands

Ayudhas

Agni Purana

Dwibhuji

Sakti, Sakti

Devi Purana

Chaturbhuji

Sakti, Tridanda, Kukkuta, Raktapuspa Varadamudra, Sakti, Ankusa, Abhayamudra

Purvakamikagama

Chaturbhuji

Matsya Purana

Chaturbhuji

Sula, Sakti, Kukkuta

Rupamandana

Sula, Sakti, Gada Varada, Sakti, Pataka, Dandapatra, Bana, Dhanusa, Ghanta, Kamala,Kukkuta, Parasu, Abhayamudra, Ankusa, Pasa, Khatvanga

Visvakarmasastra

Dwadasbhuji

VAISNAVI MUDRA

Literature

Heads

Hands

Ayudhas

Amsumadbhedagam

Chaturbhuji (four)

Varada, Chakra, Sankha, Abhayamudra Sankha, Chakra, Gada, Padma

Devi Purana

Chaturbhuji (four)

Matsya Purana

Chaturbhuji (four)

Varada, Sankha, Chakra, Gada Sankha, Chakra, Gada, Dhanusa, Khadaga Varadamudra, Sankha, Chakra, Gada, Varada, Gada, Kamalamala, Sankha

Markandeya Purana

Rupamandana

Chaturbhuji (four)

visvakarmasastra

Khadbhuji (six)

VARAHI MATRIKA

Literature

Heads

Hands

Ayudhas Chakra, Abhayamudra, Danda, Sankha, Chakra, Gada Nagar, Varada, Abhaya

Agni Purana

Chaturbhuji

Amsumadbhedagama -

Purvakamikagama

Dhanusa, Abhaya, Aksamala

Sritatvanidhi

Pasa, Abhayamudra

Rupamandana

Chaturbhuji

Ghanta, Chamar, Gada, Chankra

Matasya Purana

Chaturbhuji

Ghanta, Chamar, Gada, Chankra

INDRANI MATRIKA

Literature

Heads

Hands

Ayudhas

Agni Purana

Vajra, Vajra

Amsumadbhedagama -

Chaturbhuji

Varada, Sakti, Vajra, Abhayamudra

Purvakamikagama

Chaturbhuji

Vajra, Varadamudra, Abhayamudra, Sakti

Matasya Purana

Vadra, Sula, Gada

Markandeya Purana

Kadaga, Vajra

Rupamandana

Vadra, Sula, Gada

CHAMUNDA MATRIKA

Literature

Heads

Hands

Ayudhas

Agni Purana

Chaturbhuji

Sula, Kartari, Kapala, Pattisa

Amsumadbhedagama -

Chaturbhuji

Varada, Kapala, Sula, Abhaya Sula, Sarpa, Maspuda, Kapala, Agni

Purvakamikagama

Matasya Purana

Sakti or Munda, Kapala

Rupamandana

Dasabhuji

Musal, Kavacha, Bana, Amkusa