Multiple facets of Devi through sculpture and icon
K. T. NARASIMHAN
DEVI — Goddesses in Indian Art and Literature: V. R. Parthasarathy and Indu Parthsarathy; Bharatiya Kala Prakashan, 3421-A, II Floor, Narang Colony, Tri Nagar, Delhi-110035. Rs. 2800.
Archaeologically, the dating of the Vedas may not be put in Pre-Palaeolithic period for want of tangible material evidences; but there are several references to “Devi” in the Vedas, the Upanishads and the Puranas, like “Sthree – tan Mithunam (Krishna Yajurveda), “Tvam Mata Sarva Lokanam” (Vishnu Puranam). This vital aspect is well emphasised in this book on “Devi” by listing such references in the scriptural texts.
The authors have sought to establish the Devi cult by adopting a wider route of exploring her existence from the pre-historic period instead of just looking at art, architecture and relevant literature.
The book consists of six chapters with useful figures and plates depicting the Devi concept in a coherent way from Nomadic culture to modern civilisation.
The first chapter, which deals with the worship of “Mother Goddess,” cites numerous excavated material evidences in the form of female figures/figurines assignable to the Upper Palaeolithic period, quoting from sources across the world. The definition of “Ekam Sat” as “truth” is inconclusive. In fact, it refers to “Paramatma” (eternal soul).
The authors do not touch the epics or the early medieval literature to expound the “Bakti” cult, which was well propagated by the Azhwars and the Nayanmars through devotional hymns.
The second chapter looks at a vast range of unearthed materials, from the Harappan civilisation to the Gupta dynasty, with the help of excellent figures and plates. The terracotta figurines of the Mother Goddess with heavy head gear— they were presumably household deities — are part of an accepted theory. Besides, the existence of the Devi cult in other Asian countries is also well narrated.
In Buddhist art, how this cult is associated with holy trees at Bharhut, Sanchi, and Amaravati — known as “Salabanchikas”— is also mentioned to bring out the deviation from the earlier representation of Devi. Icons of Mother Goddess unearthed from Lauriya Nandangarh (Bihar) and Adichanallur (Tamil Nadu) are dealt with in detail to show that even in 1000 BC they were considered as a symbol of fertility and worshipped.
The etymology of ‘Yaksha/Yakshi’ is described adequately drawing support from sculptural and literary sources.
The Gupta period was a golden era as far as art and architecture is concerned. The book features an excellent plate that depicts “Bhu-Varaha” emerging from Patala-loka, holding “Bhu-Devi”.
Elaborately researched
In the third chapter, the definition of Devi is elaborately researched, right from the Rig Veda down to the Tantric text. The etymological meaning of Aditi; the appropriateness of its being referred to as the mother of Gods (Devas); its astronomical interpretation as well as assumption, iconographically, as Kamadhenu, etc. — these are well presented with apt references.
The acceptance of Devi as ‘Lakshmi’ and the non-acceptance of ‘Jeshta’ as ‘Alakshmi’ through Sree-Sukta verses are explained with pros and cons.
The next chapter, which is more in the nature of a revisit to the earlier ones, refers to the various types of icons and mentions their talamana (measurement of icon) with iconography..
The last two chapters speak about the numerous manifestations of Devi and classify them, citing appropriate examples.
Her innate characteristic prowess such as Anna, Soma, Varuna, Pritvi, and Indra is once again referred to with the objective of highlighting the importance Hinduism attaches to the Mother Goddess. How she adorns the lintels in temple, Deva-koshtas, icons, and coins (through the ages) is driven home effectively. It is indeed a Herculean and commendable achievement of the authors.
In fine, this work on Devi is not confined to describing her manifestation through art, architecture, iconography, or literature. It embarks upon a vast exploration of this cult, right from the pre-historic to modern literature (such as Silparatna), and that speaks to the dedication of the authors.
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