Saptamatrka – Part One – Devi

This article is primarily about the Matrkas the mother-like deities. But, I cannot resist talking about Devi
the Great Goddess. Let’s dwell on Devi for a while before we proceed to the Matrkas.

Mother
1.1. The concept and worship of God as Mother dates back to the hoary past. And, it continues to
represent a very important but intricate aspect of the Indian philosophies, religions, arts and
literatures. The faith in Mother Goddess permeates the consciousness of Indian people at all
levels. And, it has influenced all segments, emotional aspects and intellectual ideologies of Indian
life. Even the Indian landmass is idealized and pictured as Bharat-Mata, as a tall beautiful woman with
long flowing hair, dressed in a sari, wearing a crown upon her head and holding a trishul in her hand.
The vision of nation as Mother that charged the hearts of the 19th and early 20th century patriots and
freedom fighters is epitomized by the immortal anthem ’Vande Mataram’. And, indeed the whole of the
earth is looked upon as Dharti-mata.
1.2. But, in essence, the archetype Mother-images don’t really refer to any concrete or physical Mother
existing in space and time. But, it truly is a yearning towards an inward image of Mother in our
collective psyche. It’s symbolic expressions abound in myths, legends, rites and arts of various types
spread over the ages across the regions, sects and sub sects that make what we now call India. They
also pervade our private worlds of dreams, fantasies and emotional outbursts, finding their
expressions in myriad forms of creative art – the sublime as also the sick. They exist/existed in all
classes of societies, matriarchic or patriarchic or otherwise.

Devi Mahatmya
2.1. Most of the Puranas, it is believed, were rendered into written form by about 250 AD, though the
exact periods are not known. The Gupta period (400-600 AD) hailed as the Golden Age witnessed
innovations in art and literature. It was the age of revivalism. This was also the period when Puranas
were expanded or reinterpreted. This literarily production was ground breaking. It brought the lore of
gods and goddesses closer to common people. Each Purana was dedicated to the glorification of a
particular god such as Vishnu or Shiva. However, some Puranas devoted exclusive chapters to narrate
the legends of the Great Goddess Devi. One such Maha-purana was Markandeya-purana (Ca.250-400
CE). In its Section of thirteen chapters – Devi Mahatmya- it celebrated the glory of Devi as the Great
Mother the Supreme Deity.
2.2. Of all the Indian texts, the Devi Mahatmya, in particular, has been instrumental in establishing the
all comprehensive nature of the Mother as the Supreme God, Mahadevi – the Great Goddess. Some
believe, the text is the starting point for investigating into the nature of feminine transcendence. She is
the Power – spiritual, moral, mental, biological, and psychological as well as physical. It is believed
that Devi Mahatmya brings together various ancient traditions of female deities and their worship.
The Devi Mahatmya celebrates, in particular, the glory of the Mother and her martial deeds. It adulates
Devi as the greatest warrior; and rejoices Devi as Chandi the destroyer of evil and its tendencies. She
is the protector of the world from demons; and she does so from time to time by assuming various
forms. She is also Ambika the mother who protects; and also Durga the goddess who saves us from all
sorts of miseries and difficulties. And, it is She who, just as a boat, takes the devotees across oceans
of existence (Bhava-Tarini). Her splendor and beauty is sung and exalted by countless other names
and forms.
The text is the celebration of the limitless powers and the splendor of the Mother Goddess. It affirms its
faith that the ultimate power and authority in the Universe reside in Devi. She encompasses and
overrides everything in the Universe. She is the ultimate reality. Devi Mahatmya asserts its faith that
her Ultimate reality is really the ultimate; and it is not merely feminine.
2.3. The Devi Mahatmya dated somewhere around the fourth- fifth century , also renowned as Durga
Saptasati, Durgapatha, Chandi, Chandipatha or Chandi Saptashati, is composed as a long poem of
seven hundred verses (Saptashathi) ** arranged over thirteen chapters which are grouped into three
sections: Prathama Charitra, Madhyama Charitra and the Uttama Charitra. It is accompanied by
glorious hymns in praise of the Mother Goddess and her Shaktihis who descend upon earth from time
to time to rid the world of demons and evil-doers.
The Devi Mahatmya centered on Devi (as mentioned earlier) is originally a section (chapters 81-93) of
the Markandeya Purana. The importance of Devi Mahatmya is so huge and its uniqueness so
significant that it has come to be recognized as independent of its parent text. Over the centuries,
the Devi Mahatmya has acquired a number of subsidiary texts (anga) that are mainly concerned with
the ritual worship of the Devi.
The thirteen chapters of the Devi Mahatmya, the Chandi, are grouped into three sections comprising of
three major episodes (caritras), each one describing the glory of one of the three different aspects of
the Supreme Goddess; the three Goddesses identified as Maha-Kali, Mahālakṣhmī and Maha-
Sarasvathi. The three forms of the Devi correspond to three Gunas: Maha-Sarasvathi (Sattva),
Mahālakṣhmī (Rajas) and Maha-Kali (Tamas). Although they are represented as three distinct images,
they are virtually one; and, this is true not only for the three Goddesses, but also for all other forms of
the Maha Devi , the Supreme Goddess.
The unique feature of Devi Mahatmya is its oral tradition and the intense devotional fervor of its hymns.
And, therefore the entire text is revered as a Mantra*. Its popularity is immense. It is recited for
averting calamities in life; and at dire times when the country is under threat of attack; as also for
overcoming impurities: Mala, Vikshepa and Avarana. And, as the text itself says, it bestows not only
temporal prosperity but also illumination by destroying the darkness of Avidya. The recitation of Devi
Mahatmya is an integral part of the Devi-worship celebrations performed
during Sharad Navaratri and Chandi Yajna; as also of Tantric Sadhana involving Sat-chakra – behda.
The Dura-puja festivities commence with the recitation of Devi Mahatmya on the night of the last day
of pitri-paksha (the fortnight of the Pitris).
[* Sri Swami Krishnananda explains “The Devi Mahatmya is treated as if it were a Mantra . Each of its
episodes (charita) is associated with a Rishi (the sage who visualised it) , a chandas (its meter), a
presiding deity ( pradhna-devata), and viniyoga (for japa).He further says that every sloka of the Devi-
Mahatmya is a Mantra by itself. For instance, the opening sloka of Devi Mahatmya: “Savarnih
suryatanayo yo manuh Kathyate-shtamah” is ordinarily taken to mean “Listen to the story of the king
who is the eighth Manu” .But, it is in fact a mantra, he says; and its Tantric interpretation is: “Now, I
shall describe to you the glory of Hreem“. The Swami explains; Ha is the eighth letter from among: Ya,
Ra, La, Va, Sya, Sha, Sa, and Ha. And add to that ‘Ram’ the Bija of Agni and one hook to
make ‘Hreem’. Here, Hreem is the Bija-mantra of Devi; and, is equivalent to Pranava mantra Om. ]
The text of the Devi Mahatmya also celebrates the glory and splendour of the auspicious Devi in four
sublime hymns. Bhaskararaya Makhin (18th century) regards these hymns as Sruti-s (revealed
wisdom), the exalted revealed (Drsta) knowledge, equalling the Vedas, than as made, the Krta.

The four hymns are:

:- Brahma-stuti (DM. 1.73-87) starting with tvaṃ svāhā tvaṃ svadhā tvaṃ hi vaṣaṭkāraḥ svarātmikā;
:- the Sakaradi-stuti (DM.4.2-27) starting with śakrādayaḥ suragaṇā nihate’tivīrye;
:- the Aparajita –stuti (DM.5.9-82) starting with namo devyai mahādevyai śivāyai satataṃ namaḥ ; and,
:- the Narayani-stuti (DM.11. 3-35) starting with devi prapannārtihare prasīda.
These hymns describe the nature and character of the Goddess in spiritual terms:
The Brahma-stuti (DM.1.73-87) also known as the Tantrika Ratri Suktam, establishes the Divine Mother’s
ultimate transcendence and her identity her as the creator and sustainer and the dissolver of the Universe. She
is all compassing source of the good and the evil, alike; both radiant splendour and terrifying darkness. And
yet, she ultimately is the ineffable bliss beyond all duality.
In the longest and most eloquent of the Devi Mahatmya’s four hymns, richly detailed Sakaradi-stuti (DM.4.3-27)
Indra and other gods praise Durga’s supremacy and transcendence. Her purpose is to preserve the moral
order, and to that end she appears as ’good fortune in the dwelling of the virtuous; and, misfortune in the house
of the wicked’, granting abundant blessings and subduing misconduct (DM.4.5). ‘Every intent on benevolence
towards all’ (sarvo-upakāra-karaṇāya sadārdracittā DM.4.17), she reveals even her vast destructive power as
ultimately compassionate, for in slaying those enemies of the world who ‘may have committed enough evil to
keep them long in torment’ (kurvantu nāma narakāya cirāya pāpam – DM.4.18) , she redeems them with the
purifying touch of her weapons so that they ‘may attain the higher worlds’ (lokānprayāntu ripavo’pi hi
śastrapūtā/ itthaṃ matirbhavati teṣvahiteṣusādhvī –DM.4.19).
The Devas , distressed that the Asuras have re-grouped and once again overturned the world-order , invoke
the Devi in a magnificent hymn , the Aparajita-stuti or Tantrika Devi Suktam, the twenty slokas beginning with
‘ya devi sarva bhuteshu , praise to the invincible Goddess , which celebrates her immanent presence in the
Universe as the consciousness that manifests in all beings (yā devī sarvabhūteṣu cetanetyabhidhīyate) .
Thereupon the Devi appears on the banks of the Ganga. Her radiant manifestation emerging from the body of
Parvathi embodies the Guna of Sattva, the pure energy of light and peace. Later, She takes on multiple and
varied forms in the course of the battle with the Asuras.
The final hymn, the Narayani-stuti (DM.11.3-35) lauds the Devi in her universal, omnipresent aspect and also in
the diverse expressions of her powers .Thereupon, the Devi assures to protect all existence and to intervene
whenever evil arises.

2.4. Devi Mahatmya is not a Tantric text; but is the basic text for the Shaktha cult. The Shaktha theology
was derived from the triad of: the primacy of Prakrti as in Samkhya; the monistic Brahman as in
Advaita; and, the ritualism of Tantra. It staunchly believes in the supremacy of the female principle.
And, it idealizes Devi the Mother Goddess in most abstract philosophical terms as Shakthi the primal
energy of all (sarvamayi) that is manifest (jadathmika) and un-manifest (Arupa). She is beyond all forms
and gunas, but assumes them to create and operate the world.
At another level, the Shaktas worship the Devi Durga , who is beyond, as an independent Supreme
Divinity. She is the primordial energy and was the first to appear before everything (sarva-sadhya); She
is both devoid of form (nirakara) and filled with forms (sakara); She is both manifest and unmanifest;
She is the essence of all things (sarva sattva mayi). She creates and governs all existence (Isvari), and
is known by various names (nana-abhidhana-brut). She is the Mother of the worlds (Jagadamba) and
sustainer of the worlds (Jagad-dhatri). Everything in the universe is a minute expression her
inscrutable power (Yoga Maya). She is the ultimate goal of yoga. She is the creator of the Trinity:
Brahma, Vishnu and Rudra.
The Rishi sumits to the Supreme Goddess Chaṇḍikā : Oh Devi of incomparable greatness and power ;
who cannot be described even by Brahma, Vishnu and Shiva , protect all the beings in the entire world
and destroy the fear of evil (DM.4.4)
yasyāḥ prabhāva matulaṃ bhagavān ananto / brahmā haraśca na hi vaktumalaṃ balaṃ ca। sā caṇḍikā
akhila jagat paripālanāya / nāśāya cāśubha bhayasya matiṃ karotu ॥ 4.4॥

For the limited purpose of understanding, the forms of the Mother are said to be three: Para the
supreme form which is beyond senses and intellect; Sukshma the subtle formless mantras;
and Sthula the physical form. She is also the illusion (Maya) and the redeemer of it. In Shaktha cult,
Devi as Vac presiding over speech is the motivating power of every effort in the world. She is the
concept of power inherent in gods, humans, animals, vegetation and everything else (bhumarupa).She
is seen as one and as many, as it were, but one moon reflected in countless waters.
2.5. The Shakthas therefore adore the Mother Goddess, in love and reverence, as the ultimate reality, as
Shakthi the supremely powerful goddess; as the primal cause, the sustenance and the withdrawal of
the universe. She , indeed, is Brahman. It said; just as a spider weaves its web out of its own body, the
Mother Goddess Devi brings forth the entire universe out of her own body; and, she constitutes every
created object (kshetra-swarupa). At the time of the dissolution, she withdraws the whole of the
creation back into her womb (vishvagarbha); and there it rests as the seed of the next creation, when it
will grow and blossom forth again. With that, the vision of God as Mother became the focus of devotion
as also of its philosophical and mystical renderings.

Devi
3.1. The middle episode of the Devi Mahatmya describes how, in a long drawn battle, the gods having
failed to overcome the powerful demon Mahisasura, realized their inadequacies. Thereafter, the great
gods willed into existence the blazing power in the form of the magnificent Great Goddess Durga by
uniting their vital energies (tejas).In Durga, the diverse energies of the gods converged to form a single
totality, a resplendent goddess in her own right.
3.2. Devi Mahatmya (DM: 2; 9-17) narrates, with awe and wonder, how a supremely powerful goddess
was created from the combined anger of the gods: from the face of Vishnu filled with intense
indignation as well as from that of Brahma and Shiva sprang forth fierce heat. From the bodies of
Devas headed by Indra issued forth a resplendent lustre. All this brilliant light unified into one blazing
pile of light like a glowing mountain throwing out flames in all directions, filling the whole space and
beyond. Then that matchless splendour of light transformed itself into the Great Goddess, enveloping
the three worlds by her brilliance (DM: 2.9-12).
Her face was produced from the light of Shiva; her hair from that of Yama; her arms from the lustre of
Vishnu; her breasts from that of the Moon; her bust from that of Indra; her thighs and legs from that of
Varuna. The three eyed goddess adorned with the crescent moon, jewels, ornaments, garments,
garlands and rosaries of gems and beads, all offered by various Devas was resplendent in her majestic
grandeur. She held auspicious weapons and emblems in her multiple arms.
The Devi Mahathmya, with awe and wonder; and with an overwhelming feeling of reverence,
admiration, fear, describes the grand, sublime and extremely powerful spectacle of the Devi in her
manifestation as Mahalakshmi destroying the demon Mahishasura. In a narration filled
with divine longing and fascination, Devi Mahathmya describes the terrible battle. The Great Goddess
fought the demon Mahishasura for nine days starting from prathipath (the first day of the brighter
half) of the month of Ashvayuja; and killed the demon on the tenth day Vijaya-Dashami ending his reign
of evil and terror. Her victory symbolizes the victory of good over evil.
Her golden body blazing with the brilliance of a thousand suns, seated on her lion, Chandi as
Mahalakshmi the most spectacular personification of lethal divine anger and of all cosmic energies
sets forth to battle the Demon Mahisha the King of Asuras who was himself a combined power of
demons; and who had taken control of the minor gods. Riding a lion into battle, Durga the great
warrior goddess slew the buffalo by cutting off its head and then she destroyed the spirit of the demon
Mahisha as he emerged from the buffalo’s severed neck. It is through this mighty act that order was
established in the world.

4.1. In the Third episode of the Devi Mahatmya, according to one version (DM: 10; 2-5), Durga brought
forth from herself multiple groups of female warriors displaying various facets of her ferocious nature.
Among the groups mentioned, the Sapta Matrkas and the Nava Durgas are prominent. Devi
Mahatmya also refers to a group of goddesses having resemblance with Mahavidyas, though the text
does not name them as such. A fiery burst of energy emerging from Devi’s third eye takes the dark
skeletal form of goddess Kali. With her huge mouth and enormous tongue she ferociously laps up
Raktabija’s blood, thus preventing the uprising of further demons. In this version, Kali is described as
Matrka. And, after she overpowers and beheads Chanda and Munda, Kali is celebrated as
Chamunda.The Devi declares that since Kali presented her with the heads of these two demons, she
would henceforth be renowned in the world as Chamunda.Thereafter in the text, Kali and Chamunda
become synonyms. Kali and the group of Matrkas destroy the forces of the demons Shumba and
Nishumba.
Yasmāc-caṇḍaṃ ca muṇḍaṃ ca gṛhītvā tvamupāgatā । cāmuṇḍeti tato loke khyātā devī
bhaviṣyasi ॥ 7.27॥
[ Bhaskararaya Makhin in his commentary interprets Chamunda as : ‘chamum, ‘army’ and lati, ‘eats’; meaning
that Chamunda is literally ‘she who eats armies’—a reference to Kali as Chamunda who drinks the blood-army
of the demon Raktabija.]

4.2. The Asura Shumba taunts the Goddess for winning a battle with the help of these other goddesses:
“O Durga, you are puffed up with the pride of strength. Do not be haughty; you are exceedingly proud
but you are indeed fighting with the strength of others”.
The Devi retorts and declares: “I am all alone in the world here. What other is there besides me, O you
vile one? See that these goddesses are my own powers entering into myself.”
ekaivāhaṃ jagatyatra dvitīyā kā mamāparā । paśyaitā duṣṭa mayyeva viśantyo madvibhūtayaḥ ॥ 5॥
4.3. In the final battle against Shumba, Devi absorbs into herself Kali, the Matrkas as also the countless
others, and stands supremely alone . The Devi affirms: “Through my power I stood here in many forms;
all that has been withdrawn by me (into myself) and now I stand alone.” (DM: 10; 5-6)
tataḥ samastāstā devyo brahmāṇīpramukhā layam । tasyā devyāstanau jagmurekaivāsīttadāmbikā ॥ 6॥
ahaṃ vibhūtyā bahubhiriha rūpairyadāsthitā । tatsaṃhṛtaṃ mayaikaiva tiṣṭhāmyājau sthiro bhava ॥ 8॥

4.4. It is said; the assertion made by the Devi in the Devi Mahatmya was inspired by the powerful
hymn Devi Sukta or Vac Sukta or Vac-Ambhrni-Sukta, which occurs in the tenth Mandala of the Rig-
Veda (RV.10. 10.125) , regarded by most as the origin or the catalyst of worship of God as Mother. The
highly charged hymn is, in fact, an ecstatic exclamation by Vach or Rishika Vagambhrina (the daughter
of the sage Ambhrina) who identifies herself with Devi. This hymn is the most magnificent chant
singing the almighty glory of the feminine principle, Devi the Supreme all-pervading Divinity. The Devi
proclaims with great authority:
” I am the sovereign Queen, the bestower of all wealth, the most thoughtful, the first of those who merit
worship, and the foremost of those to whom the sacrificial homage are submitted. The gods in all
places worship me. I enter many homes; take numerous forms and permeate everything. Whoever eats,
breaths, sees, speaks or hears does it only through me. They know it not, but yet they all dwell in me.
Listen, I make the man I love exceeding mighty; make him a sage, a Rsi and a genius. I wage the war to
protect the good. I blow like the breath of life creating all the worlds. I give birth to infinite expanse
overspreading the earth. I transcend the heaven and yonder, the earth below and all the worlds. I, in my
mighty grandeur, hold together all existence”.
5.1. The Great Goddess combines in herself the multiple powers, energies (tejas) that flowed from of all
other gods. And, She, the warrior fighting for the defence of the divine order, is described as “filling
the three worlds with her splendour, bending low the earth with the force of her strides, scratching the
sky with her pointed diadem, shaking the nether worlds with the twang of her bowstring and standing
there filling the ten directions of space with her thousand arms” (DM: 2:37-38).

5.2. Mahadevi in all her mystical embodiment of power in all its myriad forms is ferociously magnificent
(Rudra-manohara) Chandika the ‘violent and impetuous one’. After the battle, Chandika the mother of
all the worlds quaffed a divine drink again and again, and laughed, her eyes becoming red (DM: 3.34).
tataḥ kruddhā jaganmātā caṇḍikā pānamuttamam । papau punaḥ punaś caiva jahās āruṇa locanā
॥ 3.34॥

6.1. In some battles, Chandika, in her full might, fights as herself; but, in some other battles, she
creates her own forces of female warriors such as Kali of most terrifying aspect as also Matrkas and
others. And in some others, all her diverse forms combine back into her.
6.2. The Devi Mahatmya, generally, adores and addresses this full form of Devi which is the totality of
all the diverse energies as Chandika the ferocious. And occasionally calls her out by various other
names and titles, such as Ambika, the nurturing mother; as Durga the saviour; and, as Mahadevi the
Great Goddess. In the Devi-kavacha attached to the Chandi, the Devi as Nava Durga is described as
Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Mahagauri, Skandamata, Katyayani, Kalaratri,
and Siddidhatri.

Devi Durga is also worshiped as Nava Durga in her nine other splendorous forms as
: Nilakanthi (bestower of wealth and happiness ); Kshemankari (bestower of health and
wellbeing); Harasiddhi (one who confers attainment of desires) ; Rudramsha –Durga (the counterpart of
Rudra riding a lion); Vana Durga (the goddess of bountiful nature); Agni Durga ( bright and glowing like
fire); Jaya Durga (resplendent goddess of victory and bestower of Siddhis ); Vindya Vasini Durga (the
goddess who resides atop the green mountains of the Vindhya region with her ride lion standing
beside her); Ripu-mari –Durga (fierce destroyer of enemies and their followers) and Mahishasura
mardhini (Destroyer of Mahisha demon).
She also shares some appellations with the creator goddess such as Sri, Prakrti and Mahamaya. There
are a host of other names of varied descriptions. Devi is the confluence of all opposites; and she
encompasses all the ambiguities inherent in nature.

7.1. One of the most amazing facets of Devi, as narrated in Devi Mahatmya, is her independence and
sovereignty. After the battle is won, the great warrior goddess does not return to the gods. She remains
a supreme goddess in her own right. She is entirely separate from the gods and is able to produce
further powers of her own. She as Shakthi also differs from the Vedic or the other the puranic
goddesses. The Devi is not depicted as a consort. In fact she bears no special relationship with anyone
other than with her devotees. She does not depend on male support for carrying out her ventures; but
manages her male role herself. Nor does she lend her power to a male god. But, she rather assumes
his powers to perform her own heroic deeds. The gods gave up their inner strength, fire and heat to
create her; and in doing so they gave up their potency to her. At the end, the gods submitted to Devi
(namaste sharanyey Shive) praying to her to protect and establish Peace and order in the world. (DM-
chapter 11; Narayani-stuti).

The Narayani Stuti, narrated in chapter 11 of the Devi Mahatmya, is sung with great gusto charged with
intense devotion and a blessed sense of fulfilment. The verses 13 to 21 of Narayani Stuti are dedicated
to Matrkas – Brahmi, Maheshwari, Kaumari, Vaishnavi, Varahi, Narasimhi, Indri, Shivaduti, and
Chamnda. In salutations to the Matrkas, the verses describe, in brief, the splendour, virtues, powers
and vahanas of these deities which are but the aspects of the Maha Devi, the Great Mother Goddess.
Salutations to you Oh Narayani who assumes the form of : Brahmi riding celestial Chariot Yoked
with Swans; Maheshwari adorned with the moon , riding the Great Bull and holding the trident; Kaumari
of great virtue holding the powerful spear, surrounded by peacocks , cocks and bears; Vaishnavi the
most excellent holding shankha , chakra , gadha and the dhanus; Varahi appearing as a ferocious Boar
sporting awesome tusks , rescuing Mother Earth from her distress; Narasimhi as lioness in fearsome
rage , destroying the enemies and protecting the three worlds; Indri the glorious queen of thousand
eyes , destroyer of the Demon Vritra , in all her splendour decorated with a diadem and holding a
blazing thunderbolt; Shivaduti roaring loudly who sent Shiva himself as messenger and destroyed the
Demons; and, Chamunda the most ferocious and invincible with dreadful face and sharp protruding
fangs , adorned with garland of severed heads, the destroyer of Demons Chanda and Munda.
7.2. The Devi Mahatmya, at another level, glorifies the Goddess as the ultimate creative force of the
Universe. She no longer is a goddess created by the united energies of other gods, but is the supreme
power having the Universe as her form; she is the supreme consciousness, the supreme knowledge,
the supreme memory, the great delusion as also the one who grants liberation from delusion. She is
the consciousness, the principle of knowledge and perception through which all of the existence, real
or apparent becomes known. She is the Shakthi, the womb (Hiranyagarbha) the source of everything ,
the origin of the phenomenal world; and one who gives manifest forms to other divine energies
Brahma, Vishnu and Shiva. Without her, the gods are inactive, and nonexistent. She is the supporter of
the world, the cause of its maintenance and its dissolution.
Another text, the Devi Bhagavata Purana, declares she is present everywhere, right up from the creator
god Brahma, down to a blade of grass (DBP: 1.9.31-32). She proclaims to Vishnu that she is everything
that is seen (DBP: 1.15.52).
7.3. The Yoga believes that the Great Mother is manifest in two polar extremities. One: on physical
plane, where she seems shrouded by her own created matter, coiled and asleep. The other is: the fully
awakened state, the highest state of bliss and illumination, which is one and the same as Shiva the
Supreme consciousness. She is Kundalini-shakthi. She is realized in the microcosm as the ultimate
goal of yoga.

7.4. Thus, in the Devi Mahatmya , the Devi is depicted in varieties of ways : as the creation of the gods ,
brought forth by uniting their energies – as an independent goddess who produces further powers of
her own – as the culmination of all the feminine powers of the past , present and future – as the Great
Mother Goddess who gives manifest forms to all the gods including Brahma, Vishnu and Shiva – as
the Supreme Goddess , the ultimate creative force of the Universe – as the supporter of the world, the
cause of its maintenance and its dissolution – and , She is verily the Brahman.
7.5. Devadatta Kāli who has translated the Devi Mahatmya’ with dignity and eloquence befitting a
sacred text ‘, writes : even Sixteen centuries after its composition, the Devi Mahatmya still shines as a
beacon from a primordial age when men and women , enchanted by nature’s beauty and abundance ,
yet terrified by its fierce , destructive power , honoured the source of creation as the Great
Mother….Even today, the great hymn of praise that is the Devi Mahatmya reveals to us an all-
embracing vision of harmony between the Mahadevi’s abiding earthly presence and transcendental
unity proclaimed by the seers of the ancient India.

Symbolisms
8.1. The Chandipata is recited by the devotees with great fervour and reverence in glory of Devi and her
all- pervasive power and majesty. It is an act of intense love and devotion; and indeed is regarded as
the very fulfilment of one’s existence. Apart from that, there are various symbolisms associated with
the exploits of the Devi.
8.2. The Chandi depicts conflicts between the Devi on one side and the prominent Asuras on the other
.It seems like an allegorical representation of the continual battles between the divine and the demonic
in the human. Her adversaries represent the all-too-human impulses arising from the pursuit of power,
possessions and pleasure; and from delusions of self-importance. They are, in particular, described in
the traditional texts as eight evil dispositions which corrupt human nature and prevent entry of pure
light.
8.3. The Devi’s battle field is indeed the human consciousness. Therein, every dominant passion or
instinct produces its special array. The deep rooted passions and prejudices within us often seem
indestructible. When one is killed the other one rises up instantly – just as Rakthabija whose every
drop of blood regenerates host of similar demons. Our passions and instincts whenever they find they
are in danger of being eradicated or suppressed change their form, appearance, colour and sublimate,
trying to disguise and escape , or even try to justify their existence.
The Devi, the supreme Goddess, in all her kindness and love, confronts the demons of ego and dispels
our mistaken idea of who we are. Paradoxically –it is she who creates the delusion in the first place;
and it is she alone who awakens us to our true being. It is the awakening of the Mother-consciousness
within that makes us strong enough to overcome the evil.

[ Devadatta Kali in his commentary and translation of the Devi Mahatmya (In Praise of the
Goddess and the Veiling Brilliance) visualizes the Great battle that the Devi fought as the very
reflection of the various facets our inner consciousness. Devi, of course, is the Supreme Self; the gods
being the positive aspects such as mind, consciousness; and, the Demons are indeed the obstacles,
frustrations and failures that we strive to overcome.
According to him, the battle is about regaining nature of one’s true self; and overcoming the sense of
loss, limitation and dispossession. The main characters that figure in the narration are all afflicted by
dispossession; the king is disposed of his realm by his scheming rivals; the merchant is dispossessed
of his wealth by his greedy relatives; and, the gods are driven out of the heaven by the Demons. We
the readers, also face in our lives defeat and dispossession. It is the grace of the Devi that helps us all
to overcome the obstacles and regain our true nature.
The Devi Mahatmya, he says, is about understanding the process of the working of our mind; and, the
very nature of our lives. One thought succeeds the other in an endless sequence; we are ever
distracted, restless and forget out true self. The text is about being aware of the working of our mind;
conquering the restless process of our mind ;and , attaining equanimity and peace.
It is the celebration of the sense of divine, beauty, wonder and joy that ultimately pervades the Devi
Mahatmya.

At one level the Devi Mahatmya chronicles the battle between the Devi and the Asuras. At another level
it deals with the battle of life. At yet another level it deals with the inner battle between the divine and
the demoniac forces within the human psyche, between the positive and negative.
The battlegrounds represent our own human consciousness, and its events symbolize our own
experiences. The demons are symbolic of the psychic forces within the shadow. They represent all the
evils in the external world that have been internalized. Whatever has been internalised in turn again
manifests externally in our life.
The Divine Mother is our own true being, our inherent divinity and wholeness. Her clashes with the
demons symbolize the outward and inward struggles we face daily. The Devi, personified
simultaneously as the one supreme Goddess and also the many goddesses, confronts the demons of
ahamkara or ego (our mistaken notion of who we are or what we identify ourselves with), of excessive
tamas and rajas, that in turn give birth to other demons of excessive craving, greed, anger and pride,
and of incessant citta vrttis (compulsive inner thought processes springing from past karmic residue).
In the ultimate sense, the dichotomy between the bad and the good is also a false one. There is no
duality. Both are part of one single paradoxical reality. The text drives home this truth so beautifully.]
8.4. Since we are talking here about the Matrkas the mother-like deities lets also briefly look at their
symbolisms associated with the Mother.
In Tantra, the letters of the alphabets are the perceptible forms or the aspects of the Mother; and hence
are termed as Matrkas, the mother-like who attend on the Great Mother and approximate her to some
extent. It believed that the fifty-two alphabets of the Sanskrit language emanated from the Mother; and
she takes the name in every one of them. During the ritual worship of the Mother, her presence is
invoked in the body of the Sadhaka through a procedure known as anga-nyasa or consecration of the
different parts of the body. It is meant to emphasize that you belong to the Mother; and you are
sanctified by her presence in you.
9.1. The goal and the summit of the Tantric-sadhana is the identity with the Mother divine. It is to feel
and to experience you are no longer separate but truly a child and a part of her consciousness. She is
always in you; and you in her. It is a stage as Sri Ramakrishna Paramahamsa explained: a simple,
natural and constant experience that all your thoughts, seeing and actions, and your very breathing
and existence comes from her and are hers. You realize , see and feel that you are a person formed by
her power out of herself, put out from her for play and yet always safe in her .You are indeed a being of
her being, consciousness of her consciousness , force of her force and Ananda of her Ananda. And
that is the true significance and essence of Mother-worship.

In the next part let’s take a broad look at the Origins, history and development of the Matrkas.

Saptamatrka – Part Two

Origins and the Overview

10.1. The Saptamatrkas briefly referred to, earlier, in Part One in the context of Devi’s battle with the
Asuras have indeed a very long history. They have their origins in various myths, legends as also in
the beliefs and practices of the distant tribal mores. The Matrkas, perhaps, originated in the tribal
traditions and folk cultures. They were the local goddesses who protected the village boundaries and
fertility; took care of child growth, diseases, etc. They come in myriad names, forms and attributes.
10.2. The cult of the mother-goddess is woven into the fabric of our social, cultural and religious
history. The Mother-goddesses have universal acceptance as well as a local relevance. They find more
spontaneous expressions in rural communities. The faith in the mothers or spirits which afflict people,
especially the children, is an ancient one; but, its epic forms came later. There are many different
myths about the origins of the Matrkas in the Puranas and in the Tantra lore. Different versions of their
origins are narrated in Mahabharata, Devi Mahatmya, Linga-purana, Matsya – purana, Bhagavata
purana and Visnudharmottara purana.

10.3. There are also attempts to trace back the origin of the Saptamatrkas to hymns of Rig-Veda and to
the Indus seals. At several places in Rig Veda there are references to groups of goddesses or maids, in
sets of three, seven or ten. But, they have no independent identity and have no distinct functions or
names. For instance, there is a mention of Ten young unwed daughters of Tvashta, who together hold
the babe, the new-born infant (RV: 3.29.13).There are references to seven red-sisters associated with
Agni as his mothers or sisters. But, they are generally interpreted as seven tongues or flames of Agni.
And again, there is the group of female deities referred to as mothers who supervise the preparation of
Soma (RV: 10.102.4). There is also another set of seven sisters, singing in chorus, who are invoked in
charm against poison or snakebite; and who ‘carry away the venom, as far away, as the girls bear the
water in their jars’ (RV: 1.164.3). Some have tried identifying these sets of Mothers or sisters as
Saptamatrkas. Similarly, the seven female figures on the four seals of the Indus valley are also taken to
represent Saptamatrkas.
I, however, reckon that all such readings are mere conjectures. And, both the sets of questions are
rather vexed. At the most, the female figures on Indus seals might point to the then prevailing belief
system and practices involving worship of female deities.
[The study of Indian religious traditions has to be approached today with some sensitivity and care.
Today’s Hindus, Buddhists and Jains have their own traditions of scholarship and study, and their own
ways of understanding themselves and their religions. At the same time, Western societies have
developed their own modes of understanding Asian religions, both popular and academic, and these
undoubtedly have their own flaws and limitations.
It is therefore important to approach this subject-matter, rather cautiously , as if stepping into an
unknown large and complex area, At the same time we also need to be unbiased; and, recognize the
limits of our knowledge and insight into the very ancient bygone practices of the forgotten periods of
pre-history. That problem is exacerbated by the horribly mixed up chronological conjectures based on
scanty unreliable evidences. .
Therefore, no single point of view- textual, anthropological, internal or external – can be taken as
absolute or primary. All or each of these may have some truth-content. It would, perhaps, be better to
take a reasonably balanced view, integrating diverse perspectives. Such an approach, which tries to
harmonize the key points of varied perspectives might, hopefully, lead us to broader understanding of
the issue.]

10.4. The scholars, generally, are inclined towards the view that the Matrkas perhaps originated in the
tribal traditions, as extension of the Mother-Goddess cult dating back to the time-less past. Matrkas, it
is said, were originally, the village deities who came from non-Aryan beliefs and practices where they
were looked upon as guardians of the house and village, presiding over childbirth and taking care of
the children and preventing diseases. And, the village deities were later absorbed into the higher
traditions and rendered as goddesses in the orthodox texts.
[The term ‘non-Aryan’ should not be construed to mean aboriginal or savage. We should bear in mind
whatever is non-Vedic is not necessarily non-Aryan; and that the Vedic beliefs may not represent the
whole of the old Aryan communities. Now, look at it in the other way: idol-worship may not be Aryan;
but, it is definitely a part of what is now known as Hinduism. And, Hinduism is enriched by countless
tribal cultures and elements that are ’non-Aryan’.]
[ To explain: What is now called Hinduism was not made; but, it has grown over the centuries by
absorbing, transforming and reforming various cult and tribal beliefs and practices, many of which
were vague and amorphous. The Hindu culture, philosophy and rituals are greatly enriched by
countless tribal cultures. But, all the while it did retain the ancient concept of an all-pervading,
Universal entity from which everything emanates and into which everything eventually returns. Some
describe Hinduism as an inverted tree or a jungle; but not a strictly planned structural building.
The Hinduism of today is perhaps closer to the religion that existed during the Mahabharata times. But,
it is far removed from the esoteric religion of the Rig Veda or the strict Vedic concept propagated by
Swami Dayananada Sarasvathi.]
10.5. The Matrkas could be the synthesis of various Vedic and non-Vedic deities having relevance in
their regional contexts, worshipped over a long period of time.

Balagraha
11.1. Among the diverse sources of the Matrka cult, the old belief in Balagraha (Baala = child; graha =
seizers) is an important one. They are basically a group of nameless fearsome seizers who ‘possess’ or
afflict children until their age of five (or sixteen, as per some beliefs). They are seen as threats to
wellbeing of children; even having a tendency to steal children (Harti).

[Interestingly, Harati the child-snatcher also figures in Buddhist tales. According to the Buddhist legends, the
childless victims of Hariti beg the Buddha to save them from her cruelty. The Buddha then, it is said, arranges
to hide away Harati’s child in a secret place. After having lost her child, Harati in desperation, searches all over
the earth – in the cities, villages, forests, mountains, rivers and islands etc. She even searches in the
kingdoms of gods and Demons. At the end, after exhausting all other options, she appeals to the Buddha for
help in retrieving her lost child. He points out that her suffering is insignificant compared to the combined
suffering of all the mothers whose children she killed. She agrees, though reluctantly, to give up her nasty
habit of snatching away the children; and also promises to protect children, henceforth. At that, the Buddha
returns her child, safe and sound. Thereafter, Hariti becomes a disciple of the Buddha and joins the Sangha.
Harati in Buddhism becomes a spirit (Yakshi) of fertility, childbirth, motherhood, and the protector of children
;and also a Yakshi of healing.
]
These tutelary deities or spirits, including Nagas, Pisachas and Yakshas, are derived from Lower
Tradition. These are also addressed as goddesses, because, interestingly, the concept of Deva or god
embraces all supernatural beings. It is said; all beings right from Brahma down to Pisachas are ‘gods’
(Brahmadayah Pisachanta yam hi deva upasate).

11.2. The Balagraha spirits are said to dwell in cross-roads, in cemeteries, on mountains, in caves, and
on trees (vrikshi). Adorned with diverse kinds of ornaments, strange attire and speaking verities of
languages they strike terror in the hearts of foes. They are feared because they are believed to
endanger foetuses or infants; to hinder as also to aid conception, birth, ailments and protection of
children. These deities perhaps symbolized the mixture of exhilaration, anxiety and fears of the risks
associated with pregnancy; the innocence and joy of childhood; the horror of infant mortality; and the
bewildering mystery in which these joys and fears are shrouded. At another level, they personified the
faith in tremendous powers of the folk deities to nurture or to destroy. The Balagraha were, naturally,
feared and respected. And, the worship practices, prayers and offerings submitted to these spirits
during formal rituals were motivated, mainly, by the anxiety and preoccupation with progeny; the
propitiation of fertility and warding away of forces inimical to children.
[The ancient medical practitioners such as Charaka and Shushruta (Ca. 400 – 200 BCE) as also
Vagbhata (Astanga-samgraha) deal with the diseases that afflict the children [K (a) umAratantra]. Some
of the kumAra ailments are inherited while the others that cause disturbance of mind, depression and
other psychic conditions are acquired from apparently unknown causes which defy explanations.
The Uttara Tantra of a latter period (chapters 27 to 29) prescribes medicines (oshadhi) to combat
the kumAra afflictions, in addition to mantra-s (mantra prayoga) and ritual oblations, to appease the
offending Bala graha-s (bhuta vidya).]

Kushana period
12.1. The Balagraha tradition seemed to prevail even during the Kushana period. But, The Kushana
period (1st to 3rd century) was also the age of assimilation of various beliefs, concepts and practices
surrounding the diverse types of deities. In this process, the Balagraha deities from Lower Tradition
got entwined with the many legends surrounding the birth of Skanda or Kumara or Kartikeya. The
Balagraha beliefs played a pivotal role in the formation of motif of mother and child. The Kushanas as
also Yahudeya warriors who brought down Kushana Empire were worshippers of Skanda. And, the
tutelary deities Lokamatas associated with Skanda gained upward mobility from folk traditions.
12.2. The Kushana period sculptures depict groups of female deities in varying numbers having animal
or human faces and carrying children .These figures came to be recognized as Matrka images. Their
sculptures combined in themselves mutually opposing features: the maternal protection and the
destructive wrath. These divergent aspects were symbolized by the child in their lap and by the
weapons of war they carried. But, one of the major problems with the Kushana sculptures is in relating
them to the goddesses portrayed in the texts.

Gupta period
13.1. The Gupta kings(400-600 AD)had a special affinity towards Skanda the Commander of the godly
forces (Deva-senapati). The Gupta warriors adopted Skanda, the war god, as their mascot. Some of
their kings took the names of Skanda. It was during the reign of Skanda Gupta (455- 467 AD) and
Kumara Gupta (473-476 AD) that along with Skanda, the Devi and other goddesses associated with him
gained prominence. A full-fledged goddess pantheon was brought forth. Various folk and tribal
goddesses, each with a distinct nature and form, were absorbed into the ambit of the Devi lore; and,
they all converged to project one Great Mother Goddess Mahadevi. In another manner, various
powerful and personified individual goddesses came to be regarded as her emanations.
13.2. During the Gupta period, a link was forged between Skanda, Kartikeya or Kumara and the Matrkas
as his foster mothers. In the process, the Matrkas as also the other folk and tribal goddesses were
elevated into the Higher Tradition. The Matrkas were raised to the nobility of court goddesses. And,
their myths and legends were rendered into Sanskrit texts. Their iconic forms were standardized and
developed into sculptural /iconographic depictions. Powerful and innovative images of the seven
mothers started appearing in various sculptures. Saptamatrkas, as a group, were depicted as
beneficent goddesses but yet associated with fearsome aspects. In their individual portrayals only their
benevolent aspects were projected.
It is said; one Mayuraksha, a minister of Visvavarman (contemporary of Kumara Gupta (473-476 AD),
built a temple in honour of the seven divine Mothers. The repeated appearances of Saptamatrkas in the
Gupta period emphasize their importance in the religious life of its common people.
13.3. The continued acceptance of the Matrkas as worship worthy deities over long periods is also
evidenced by their mention in Dramas and other texts of even the earlier periods. For instance, in poet
Bhasa’s (second century BC to second century AD) unfinished play Daridra-Charudatta (Charudatta in
poverty) and in its elaboration Mṛcchakaṭika (The Little Clay Cart) scripted by Sudraka (second century
BC) there are scenes depicting worship of Matrkas. And, Natyasastra of Bharata, also around second
century BC, recommends worship of Matrka, Natya-mata, as a part of consecration of the stage and the
play-house (natya-griha). And in much later times, it is said, the early Kadambas of Banavasi (345–525
AD) and their subordinates the early Chalukyas (543–753 AD) worshipped Matrkas. Later, Banabhatta’s
monumental poem Kadambari (606–647 AD) also refers to Matrka worship by the forest dwelling tribes
Shabaras. And, mentions that their chieftain was an ardent believer of mother goddess Katyayani.
Incidentally, the Shabara tribe played an important role in the political history of ancient India. They
aided the foundation of Maurya Empire (see Visakhadatta’s Mudra-rakshasa).

14.1. When you look back, you find that during the Kushana period along with the acceptance of
Skanda and different mothers into the Vedic fold it also led to taming of the dangerous Balagrahas
through the infant. The Kushana figures were inspired by the mother and child motif of the Balagraha
traditions. The Gupta period improved upon the Kushana figures and rendered them into classy
sculptures naming them as Saptamatrkas. The Ayudha-purusha the arm-bearing guards of the
Kushana figures were replaced during the Gupta period by Ganesha and Veerabhadra. The concept of
Saptamatrka was however derived from Devi Mahatmya and Puranas, where the Saptamatrkas are
basically ferocious looking female warriors. They are fundamentally different from the Balagraha
deities that hinder the child. Yet, the Saptamatrka sculptures were patterned after the Balagraha
depictions. Conceptually, the Saptamatrka of the later traditions have nothing or very little to do with
Balagraha. Amidst these contradictions, it is the child that links the three traditions.

Puranas
15. It is in the Puranas that the Matrkas find their definite forms and acquire distinct personalities. Most
of the Puranas, it is believed, came to be written by about 250 AD, though exact periods are not known.
During the Gupta period (400-600 AD), hailed as the Golden Age, innovations were made in art and
literature. In the words of Ananda Coomaraswamy “it was indeed the classic phase of Indian art, at
once serene, energetic and voluptuous”. It was an age of revivalism. This was also the period when
Puranas were expanded or reinterpreted. This literarily production was ground breaking; bringing the
lore of gods and goddesses closer to common people.

The battles
15. 1. The one myth that is of great importance in the conception of Saptamatrka is the recurring battles
between the Devas and Demons. The conflict is so fundamental that the theme persists as a central
motif throughout the evolution of the orthodox religion and particularly that of the Shaktha sect. The
conflict finds its reflection in a variety of shades of interpretations. It also provides legends explaining
the origin of various groups of deities such as: Dasha Mahavidya; Navadurga; Matrkas and others. The
appearance of the Saptamatrkas to assist Devi in her battle with the Asuras, as detailed in Devi
Mahatmya (a portion of Markandeya purana), is one among the many versions of their origins
associated with battles against the Demons. Here, Matrkas arise from different parts of Devi; and are
described as militant, ferocious, goddesses of the battlefield having sinister as well as propitious
characteristics. After the battle, the Matrkas dance drunk with their victim’s blood.
15.2. According to another version, during the battle against demons Shumba and Nishumba, the
Matrkas emerge from the bodies of gods- Brahma, Vishnu Shiva, Skanda and Indra.
15.3. As per the narration in Matsya Purana, Shiva created the seven Matrkas to assist him in his
combat against the demon Andhaka. After the battle, the Matrkas go on a rampage destroying the
beings of the world. The destructive Matrkas are eventually pacified by the benign goddesses created
by Lord Narasimha.
15.4. In the Suprabhedagama it is said these seven Matrkas were created by Brahma the purpose of
killing the Demon Nirrita.
15. 5. Varaha Purana carries an interesting sidelight. It mentions that the Matrkas were created from the
distracted mind of goddess Vaishnavi while she was trying hard to meditate. These Matrkas are
described as lovely looking attendants assisting the goddess on the battlefield.
15.6. Similarly, in the battles carried out by Skanda –Kartikeya as the Supreme commander of the Army
of Devas, replacing Indra, Mahabharata (Book 9; Shalya parva; Section 46) mentions that as many as
ninety-two or more female warriors assist him (Please click here for the list); and fight the demons
along with him. Among the unwieldy group of female warriors were a cluster of goddesses – Matrkas.
Some of these Matrkas are described as having youthful lovely form, cheerful demeanour and fair skin;
while the others were having long nails, large teeth and protruding lips, striking terror. They all were
valiant like Indra in battle.

Other accounts
16.1. Apart from such wide-ranging narrations which are related with battles, there are other accounts
connecting Matrkas with Skanda. In one of the legends associated with Skanda detailed in the Vana-
parva (215.16) of Mahabharata, the Matrkas known as Lokamatas are a host of ferocious and terrifying
beings sent by Indra to kill the infant Skanda, shortly after his birth. They function as a group and all
references to them are as a group. They are inauspicious beings with loathsome qualities and untidy
habits.
16.2. The subsequent episode related with Skanda (in the same text) mentions that the Matrkas
emanated from the sides of Skanda when struck by Indra’s thunderbolt. Skanda divides the host of
fierce goddess into Shiva (auspicious) and A-Shiva (inauspicious) groups. Yet all were said to be of
rather malicious nature.
16.3. Yet another version mentions them as Krittikas, the desolate wives of six sages (Rishi) driven out
by their husbands; and then adopted by Kartikeya as his foster mothers. They come to be known
as Maha -matrkas.
Malevolent nature of early Matrkas
17.1. Most references in Mahabharata state that the Matrkas are inauspicious; and are dangerous to
children. Though they eventually serve Kartikeya as his mother, their initial task was to kill him.
17.2. The malevolent nature of the Matrkas is also seen in several passages of Bhagavata Purana,
where they are listed under Ugras, Rakshasas, Pisachas, Bhutas and other dangerous kind of beings
(BP: 2.10.37-39). Elsewhere in Bhagavata Purana they are mentioned along with Bhutas, Dakinis, Vetala
, Pretas and Pisachas and other terrible beings as parts of Shiva’s entourage (BP:10.83.6.ff). They are
commonly understood as dangerous groups of female spirits or goddesses.

17.3. In the same vein, another list of ten female sprits is mentioned. All of them serve inauspicious
purposes and have hideous forms tormenting children until they are sixteen years of age.
Unfolding of the Matrka cult
18.1. The various accounts of the Puranas if taken together suggest an evolution, assimilation and the
gradual unfolding of the Matrka worship. Their association with Skanda enabled the upper mobility of
the tutelary goddesses. And, as Skanda began to assume an independent godhead status in the neo-
Vedic pantheon, the Matrkas came to be increasingly associated with Ambika or Durga whose cult was
gaining ascendency during the ideological consolidation that was taking place during the Gupta
period. During the process of assimilation, over a period, the groups of untamed destructive female
forces were reformed and brought into the broad theological view cantered upon the concept of
Shakthi. The Vedic preoccupation with number seven (the concept of heptads) crept in, and the
Matrkas were crystallized into Saptamatrka, a group of seven goddesses. Thus, the innumerable
tutelary mother goddesses who were accepted into the family of Skanda were supplanted by the new
standard seven mothers. The names of the previous mother goddesses gradually faded into
background and finally disappeared. The Saptamatrkas are thus the systematized and refined forms of
the earlier Matrkas

Tantra
19.1. The Krittikas and others were not regarded as worship worthy goddesses. The Puranas also do
not specifically recognize them as powers though they assert that all feminine principles are aspects of
Devi.
19.2. Therefore, the concept of Saptamatrka as Shakthi was not derived from these Puranas. It came up
through another source, which is the Tantra ideology. The study of the development of Shakthi cult
might enable us to locate the origins of the Matrka concept in that tradition. Here, the embodiment of
potent feminine forces (shakthi) are generally named matr or matri; and in group as matrgana. They are
called Matrka (mata iva), meaning mother (matr)-like (ka). The term Matrkas, therefore, generally refers
to groups of mother-like deities. They are the personified energies of the gods (Deva Shakthi) and are
described as universal mothers (vishvasya mataraha).

9.3. In Tantra, Matra also refers to the letters of the alphabets that are regarded as the perceptible forms
or the aspects of the Mother; and hence are termed as Matrkas, the mother-like who attend on the Great
Mother and approximate her to some extent. It is believed that the fifty-two alphabets of the Sanskrit
language emanated from the Mother (matrka-mayi); and she takes the name in every one of them*.
During the ritual worship of the Mother, her presence is invoked in the body of the Sadhaka through a
procedure known as anga-nyasa or consecration of the different parts of the body. The invoking of the
Mother –Matrika Nyasa – along with the five elements is a significant ritual. It is meant to emphasize
that you belong to the Mother; and you are sanctified by her presence in you.
[* For the purpose of daily recitations, each of the fifty-one alphabetic letters (Matrika) is extended , in
the given order, into a name of the Devi: Amrita, Aakarshini, Indrani, Iishani, Uma, Urdhva-keshini,
Ekapadini , Aishvari, Omkarini, Aishadhantika, Ambika, Aksharatmika , Kalaratri, Khatita, Gayatri,
Ghantadharini, Narnatmika, Chanda, Chaya, Jaya, Jhankarini, Jnanarupa, Thankahasta, Thamkarini ,
Damri, Dhamkarini, Namini, Tamasi, Thamini , Dakshayani, Dhatri , Nanda, Parvati, Phatkarini, Bandhini,
Bhadrakali, Mahakaya, Yashasvini, Rakta, Lambobosti, Varada, Shashini, Sarasvathi, Hamsavathi, and
Kshamavathi.]
19.4. Another explanation is also based in the structure of the Devanagari alphabet. First is the (a)
group (varga) which contains the vowels, then the (ka), (cha), (ta), (ta), (pa), (ya) and (ksha) groups. It is
believed; the seven mother goddesses (Saptamatrka) correspond to the seven consonant groups
(Vargas); and, when the vocalic (a) group is added, the eight mother goddesses (ashtamatrkas) are
obtained.
In this grouping, Brahmi is associated with ka-varga, Maheshwari with Cha-varga, Kaumari with Ta-
varga, Vaishnavi with Tta –varga, Varahi with Pa-varga, Indrani with Ya-varga and Chamunda with
Ksha-varga. It is said, the eighth Matrika, Mahalakshmi is the presiding deity of A-varga.
19.5. Kashmir Shaivism (around eleventh century) explains Matrka as the binding energy that makes it
possible to understand words or symbols strung together as language. Its text Siva Sutra defines
Matrika as ‘the ground of all knowledge ’(jñānādhisthāna mātrikā- Shiva Sutra:1-4).Matrika is the subtle
force behind thought and speech.
19.6. One of the fundamental concepts of Kashmir Shaivism is that our mind, in the form of words,
concepts, and ideas, is the source of bondage and suffering. And, as long as we do not understand the
true nature of matrika, we are bound by worldly actions and feelings , without ever really understanding
the source of their power over us.
19.7. Another Tantra-text Lakshmi Tantra declares “Matrika is the source of all mantras, the origin of all
sciences and the soil from which all the principles, all the sages and all knowledge are born.” Matrika
Shakthi is the power of sound that is the matrix of the cosmos; and manifests as the letters in the
alphabet.
Tantra Shastra says that Devata and Mantra composed of letters (Matrika), are indeed one. Matrika is
Shakthi and Shakthi is Shiva.
19.8. In Tantra, Matrika chakra formed by the group of letters is based on the understanding of the
essential power of the word; and by regarding the word as god. Each letter, Matrika, is a power in its
own right. Each is a microcosm that holds within it the macrocosm. That is the reason; the whole
of Matrika chakra is looked upon by some as the primal alphabet, the essence of all alphabets. And,
from this alphabet, according to this tradition, the whole universe arises.

It is also said; in the Matrika Chakra, the sixteen vowels from ‘a’ to ‘ah’ represent the energies of Shiva.
And their unity with Matrika ‘m’ creates the universal mantra of Shiva ‘aham’.
19.9. And in Shaktha traditions, Matrkas, the sounds, their vibrations and the combination of vibrations
interacting with one another is regarded as Matrika Shakthi the creative energies that manifest. All
things are forms of creative energy, the Shakthi, which is never separate from Shiva, the Absolute.
As regards the Saptamatrkas, in particular, it is said; they represent the seven seed (bija) sounds,
comprising five pure-vowels (a, i, u, r, lr) and two compound vowels (e and o).
19.10. Durga the great goddess and the Saptamatrka share certain common features; and also have
certain differences. Both were created by the Will of the Gods; and both are the feminine aspects of the
energies (tejas) of the Gods. However, in Durga the diverse energies converge to form a unified
powerhouse; while in the case of Saptamatrkas various energies remain independent though bound
into a group. The seven goddesses are not consorts of male gods, but are the independent aspects of
Devi.
20.1. Thus, it is the Shaktha and Tantra ideology, its magical rites and esoteric exercises that provide a
distinct significance and life to the cult of Matrkas. In the Tantra, Matrkas emphasize the primacy of the
female over the male principle. Usually, they are known as a group; and, are visualized primarily as
Shakthi’s potent power of male gods. Their numbers are often indeterminate; although some texts
mention them as five, seven, eight, eleven or sixteen. They have common attributes and forms
associated with the auspicious and, often, with the inauspicious. The various references and epithets
of goddesses in the later Vedic and Tantra texts belong either to the sphere of militant goddesses or to
the benevolent motherly, fertility deities.

Symbolisms
21.1. The Saptamatrka symbolisms were rationalized in the Tantra and Yoga theories. The infant who
nestles in the lap of each Matrika is indeed the Sadhaka in care of the Mother. He is reborn at each
stage of his pursuit. The weapons held by the goddesses are symbolic of the wars waged on ego and
ignorance, as the Sadhaka strives to overcome them.
The Sadhakas such as Ramaprasad and Sri Ramakrishna described themselves as children in the lap
of their mother. Even while the mother is angry the child clings to her for love, warmth and protection.
In the words of Ramaprasad; you can never separate the bond between a child and a mother. Though
she beats it, the child clings to its mother crying, “mother, oh mother”.
21.2. The infant was also seen as a symbol of the benign energy needed to counteract and balance
between the negative and the positives forces
21.3. Varaha Purana interpreted the Matrkas as symbols of Atma Vidya or spiritual wisdom that fought
against the dark forces of ignorance embodied by the Demon Andhakasura.
21.4. The Tantra-text Tantra-raja-tantra (27; 56 ) relates Matrkas to eight types of vices or inauspicious
emotions like envy, pride, anger etc: “Brahmi of pride (mada); Maheswari of anger (krodha); Vaishnavi
of greed (lobha); Varahi of envy (asuya); Kaumari of attachment (moha); Aindri of jealousy (matsarya);
and Chamunda of depravity (paisunya); and the eighth Yogeshwari represents lust (kama)”.
Vishnudharmottara Purana and Varaha Purana (17.33-37) also carry similar narrations.
But, Tantra-raja-tantra (36; 15-16) at another place identifies Brahmi with the primordial desire to create
(Kama);Maheshwari with the tendency to degenerate and dissipate (krodha);Kaumari with the youthful
longings to be and to enjoy (lobha);Vaishnavi with power to fascinate and delude (moha); Varahi with
pride and arrogance (mada);Indrani with jealousy and envy (matsarya);Chamunda with urge to sin
(papa) and hurt (abhichara); and , Mahalakshmi with doing good (punya) for selfish reasons.
21.5. In Tantra and Yoga rituals the Matrkas are worshipped with prayers to suppress and overcome the
evil tendencies that obstruct the progress of the devotee .Thus, Matrkas and Yoginis perform vital roles
in the Diksha rituals of the adepts.
21.6. In the Sri Vidya tradition, the Matrkas are regarded as the guardians and are seen as residing in
the second line of Bhupura of Sri Chakra, in each direction. They are the guides, protectors and
removers of obstructions .The the Sadhaka worships and prays to them as she/he enters into Sri
Chakra on her / his way seeking identity with the Great Goddess.
21.7. Mahanirvana Tantra however regards the Matrika –Trinity of Brahmi, Vaishnavi and Maheshwari in
an entirely different light. They are worshipped as three aspects of Goddess Gayatri. It asks the
Sadhaka : “In the morning meditate upon Her ( Devi Gayatri) in Her Brahmi form, as a Maiden of ruddy
hue, with a pure smile, with two hands, holding a gourd full of holy water, garlanded with crystal beads,
clad in the skin of a black antelope, seated on a Swan (56). At midday meditate upon Her in Her
Vaishnavi form, of the colour of pure gold, youthful, with full and rising breasts, situated in the Solar
disc, with four hands holding the conch-shell, discus, mace, and lotus, seated on Garuda, garlanded
with wild-flowers (57-58). In the evening meditate upon Her Maheshwari as of a white colour, clad in
white raiment, old and long past her youth, with three eyes, beneficent, propitious, seated on a Bull,
holding in Her lotus-like hands a noose, a trident, a lance, and a skull (59-60). [Mahanirvana Tantra -
Translated by Arthur Avalon (Sir John Woodroffe)-1913]

22.1. In Yoga, the seven mothers are the symbols of progress as the Sadhaka aims to refine his
consciousness. Each Matrkas is identified with a level of existence, a state of consciousness and
Chakra, the energy centres in the subtle body. And, each associated with an alphabet (Matra) is
a Matrika Shakthi. They are viewed as parallels of Sat-chakras raising the consciousness to the
seventh point- the Sahasrara. The seven padmas (lotus) along the shusumna are visualized as the
seven seats of feminine power (shakthi) –the Kundalini. To pass from one Matrika to the next is to be
born afresh. To reach and surpass the seventh mother is his final birth, that of non-birth which is the
release (moksha).
[The Tantric Buddhism also adopted Saptamatrikas in its practices. The powers, attributes and
functions of the Buddhist Matrikas are in line with those of their Vedic counterparts. The composite
figures of seven-mothers appear in Nalanda. And, the Buddhist goddesses Vajravarahi and Marichi are
believed to have their origins in Varahi the Matrika.
Similarly, the Jain mother-goddesses having names of Chakreshvari, Ambika, Padmavathi and
Sidhayika are similar, in nature, to Matrikas.]

Conflicts and resolutions

23.1. Taken together, over a long period, one can see that the Matrkas are dichotomous personalities.
There are layers and layers of their identities. They are complex deities who bring together the
opposing concepts of death and fertility; autonomous female warriors and consorts; protective
mothers and those who endanger children. And, later they are transformed into spiritual guides and
protectors.
23.2. Sometimes, they are described feminine forces who derive their names and attributes from male
gods; hence, they are taken to imply the coexistence of male and female principles. Yet the female is
dominant. Matrkas, unlike the consorts of male gods, are relatively independent goddesses. When
portrayed individually they are depicted as benevolent and graceful mother-like goddesses. But, in
group they appear as warriors.
23.3. Among the sets of contradictions that are bundled together within the Matrkas is the manner they
are depicted in sculptures. There is an obvious mismatch between their descriptions in the Puranas
and their depictions in sculptures. The icons are hardly related to the narrative content. The Matrkas of
the Puranas are basically militant, ferocious, blood-drinking warriors on the battle field, assisting Devi,
Shiva or Skanda in their battles against the Demons. They are not referred to as mothers; nor is there a
reference to their ‘motherly-qualities’. Yet, in their sculptural portrayals they are depicted as
benevolent, caring mothers. Their motherliness is often emphasized by the playful attitude towards the
children they carry on their laps. These Mothers are radiant and graceful and expressive, conveying a
refined simplicity. At the same time, the Ayudhas they hold imply quite a different kind of attributes.
There is basic conflict in their projection right from their earliest stages. And, yet their associated
symbolisms are retained; and there is harmony in their overall structure and countenance.
23.4. Thus, over the ages, in the course of their long and protracted stages of evolution, the Matrka
deities acquired a wide range of ideological, literary, visual and ritual representations. They have
become an integral part of the religious and historical process of the Indian society. Initially they were
feared as being inauspicious or sometimes even as dangerous spirits; but later, they were the
guardians or benefactors, the mothers who watch over children with care and concern. They also came
to be worshipped as guiding divinities on the way to ones spiritual attainments. That became possible,
perhaps, because they managed to harmonize several sets of contradictions; and internalized varied
conflicts at each stage of their development. Their character and nature too modulated to be in tune
with the context of different periods.
23.5. Conflicts and resolutions mark the story of their evolution from tribal –folk deities to the guardian
Shakthis of Tantra and Sri Vidya. They epitomize the coexistence of disparate elements and stages of
religion from primitive to the sophisticated.

Overview
24.1. The formative stages of the Saptamatrka cult unfold at the beginning of Kushana period and
during the Gupta period. The Matrkas gained importance in the Higher Tradition during times of
Kushanas (1st to 3rd century). And, during the reign of Guptas (3rd to 6th century) the Matrkas were
elevated as foster-mothers of Skanda; and upgraded to court goddesses. They are brought into
orthodox fold through various Puranas. They are grouped into the auspicious number of seven
(Saptamatrkas) and rendered into worship worthy goddesses.
24.2. In the medieval periods the numbers and names become standardized. In this period, they take on
the names and characteristics of the male gods. Despite their names and associations with the male
gods they are not treated as consorts of male gods; but are regarded as extensions of Devi herself.
Their appearances and dispositions too get modified. Matrkas are, now, no longer warrior deities or
those spirits that harm children; but are goddesses and benign guardians who act as guides in Tantric
Sadhana. They are recognized as inherent powers residing in the major Devas (Deva Shakthis); and,
are worshipped for spiritual uplift (Mukthi) as also for earthly comforts (Bhukthi).
24.3. They as an auspicious group of seven (Saptamatrkas) are depicted on temple walls. The Pallava
temples (7th – 8th century) like Sri Kailasanatha carry panels of Sapta Matrkas. The later Chola temples
continued on the tradition by depicting them in rows or in panels either standing or dancing, flanked by
Ganapathi on one side and Veerabhadra or Shiva on the other.

25.1. The evolution from the Balagraha deities to the conceptions of varied Matrkas of Kushana period;
then to the court goddess of the Gupta era; and then on to the Saptamatrka divinities of the medieval
times is viewed as a natural process. It is a process of shift from Lower Tradition towards the worship
of Shakthi as the embodiment of energies inherent in the gods and in all nature. The Saptamatrka
worship further evolved within the Shaktha sect through its theologies of Higher Tradition. The
developments within the Tantra and Yoga ideologies accorded greater importance to Saptamatrkas.
25.2. The Matrkas, however, lost much of their significance and position in the popular religious
practices during the middle centuries. But, they continued to appear in temple panels and niches.
Today, they linger on the fringes of the Hindu pantheon.
In the next part let’s take a look at the textual sources and references to Matrikas.

Saptamatrka – Part Three

Saptamatrka in texts
In the early references to Matrkas they are mentioned as groups of goddesses. Their numbers vary
from text to text and from episode to episode. Their natures and dispositions too are varied. They
function as a group; and all references to them are as a group. They are generally characterized as
inauspicious and dangerous.
Mahabharata
26. There is no mention of Matrkas in Ramayana. The earliest references to a group of Matrkas
goddesses known as Matraha or Matragana appear in Mahabharata. Its Sections
in Vanaparva and Shalyaparva – narrate various versions carrying copious descriptions of Matrka in
the context of the conception, birth, abhishekha* and marriage of Skanda. Of the two sets of
references, the one in Vanaparva is considered older and more helpful in understanding the concept of
Balagraha. These narrations, in general, portray Matrkas as dangerous and fearsome goddesses.
[*The varied versions of Skanda’s origins seem to be shrouded in a range of tribal legends of martial
nature. Skanda, it appears, established his superiority over many other gods by his sheer power; and
was eventually accepted as their commander – in – chief, replacing Indra. To celebrate the occasion a
formal Abhishekha was held.]
Vana parva
26.1. Vana-parva mentions a group of goddesses called Lokamata, Mothers – of – the world (Mbh: VP:
215.216). All the Lokamata, numbering about sixteen, are said to be of inauspicious qualities and
loathsome habits. Two of these goddesses are described. One of them (Vinata) is born of anger and
carries a spike. The other (Lohitayani) – a daughter of sea, red in complexion and of bad temper – is
said to live on blood. It is likely that the others in the group were also of inauspicious nature. They were
sent by Indra to kill the newborn Skanda. When they approached the infant, their maternal instincts
raise, their breasts ooze milk and they cannot bring themselves to kill Skanda, as commanded by
Indra. They then request Skanda to adopt them as his mothers (215.18).
26.2. In the other accounts narrated in Mahabharata surrounding Skanda’s birth, a host of goddesses
emerge from Skanda, when Indra strikes him with his thunderbolt (vajra). Skanda adopts all of them as
his mothers and divides them into Shiva and a-Shiva, groups of good and evil spirits. The auspicious
Matrkas – Devasena – are said to be: Sasti, Laksmi, Asa, Sukhaprada, Sadvrtti, Aparajita, Sinivali and
Khuhu. The eight ferocious and terrifying goddesses of malicious nature given to stealing children
(asiva-matrka) are: Kaki, Halima, Malini, Brhali, Arya, Brahmata, Palala and Vaimitra.
26.3. The dangerous nature of the Matrkas is elaborated in another version of the episode that is also
related to the birth of Kartikeya or Skanda. It says that the six wives of sages (among the wives
of Sapta-rishis; excepting Arundhati) were alleged to be the biological mothers of Skanda; hence
banished by their husbands on suspicion of being adulterous. The forlorn wives approach Skanda and
beg him to adopt them as his mothers. He agrees to their request. The six ask Skanda to grant them
two boons. One, to be recognized and worshipped by all as Maha-matrkas , Great Mothers; and two , to
be allowed to pester and harm children , since they have been banished unjustly and have no
further chance of bearing children. Skanda accepts to the first; but is reluctant to grant the second
request as it pains him to see the children hurt. He asks Matrkas to protect children instead of harming
them. They agree. But in the closing lines of that episode, Skanda allows the Matrkas to afflict children
until their age of sixteen: “In your various forms, you may torment children until they are sixteen.
Thereafter you have to protect them“. Further, he grants them his terrible form Skanda-Apasmara
(identified with Vishakaha) who torments (graha) children. They continue to have their violent
nature. These six Rishi-patnis who turned into Matrkas are identified or associated with Krittika; the
constellation of fiery nature [Pleiades (star cluster)] presided over by Agni. Skanda comes to be known
also as Kartikeya or Krittikaputra or Krittikasuta.
[The classical literature mentions Krittikas as six. The earlier tradition counted them as seven. It was
said: “The Krittikas are six. But when they ascended into heaven they became seven stars
(Saptasirasabham)”.They are also known as many (bahula) emphasizing their plurality; and hence
Skanda is celebrated as Bahuleya. The seven stars as named in Taittareya Brahmana (TB: 3.1.4.1) are:
Amba; Dula; Nitatni; Abhrayanti; Meghayanti; Varshayanti; and Chupunika.]
26.4. Another list of ten female sprits is mentioned in the subsequent episode of the story. All of them
serve inauspicious purposes; and have hideous forms. They are described as given to eating flesh,
drinking strong intoxicants, prowling about in the confinement chamber where birth takes place. They
torment pregnant women, and are also a threat to the newborn’s life, especially, during its first ten
days. They torment children until they are sixteen years of age in various ways; but later, they act as
positive influences. The ten are named as: Vinata, Kadru, Putana, Shita Putana, Revathi, Diti, Surabhi,
Sarama, Lohitayani and Arya. Elsewhere they are listed as: Sakuni, Revathi, Mukhamadika, Vinata,
Putana, Sitaputana, Lohitayani and Sarama. They all are classified as grahas (seizers) or Rakkasi
(demons) or Pisachas (ghouls). All but two of these (Vinata and Lohitayani) are blood thirsty. But, all
harm pregnant women and attack children by surprise. Apart from these ten spirits, eighteen
other grahas are mentioned, without naming them specifically.
26.5. Notable among the female spirits is Putana Rakshashi who appears in Bhagvata Purana as the
stalker in the night and as one who kills children by poisoning them. She tried to kill the infant Krishna
by suckling him with poisoned breast milk. But, she was eventually destroyed by Krishna. Another evil
goddess Jara is mentioned in Sabha Parva (Mahabharata: 16.40-17.45).She joins together (sandhi) two
pieces of a newborn and makes it into a whole baby-boy. He is named Jarasandha (the one who is put
together by Jara); and he later becomes the powerful king of Magadha.
26.6. Among the other grahas, it is said, Sakuni harms children and Kadru assumes subtle forms to
enter into pregnant women. The mothers of the afflicted children, praying for relief, are recommended
to worship Karanjeya tree. Lohitayani, the daughter of Red sea, who nursed Skanda, is to be
worshipped under Kadamba tree. Arya is to be worshipped for fulfilment of desires. All these
goddesses that are harmful to children till they are sixteen are classified as the grahas of Kumara
(Skanda).They are to be worshipped along with Skanda.
[Many have wondered about Matrka’s obsession to attack children. Some say; these beliefs originated
in the fear that women who die childless or in childbirth might linger on as evil spirits envious of other
women and their children. Matrkas are therefore feared. And that fear continues to haunt even today.
The mothers are chary of talking too much about the charm and attraction of their pretty looking little
ones. It is not considered safe for children to attract the attention of the evil ‘eyes’ of the goddesses.
And, sometimes; the mothers mark their well adorned children with a spot of collyrium or other dark
substance on their cheeks to hide their beauty. These practices mixed with hope and fears are meant to
safeguard the children .The mothers fondly hope to prevent spiteful goddesses from noticing their
good-looking children, lest the jealous might harm the dear little children.]
The myth of the genesis of Skanda in the Vana parva of Mahabharata establishes the emergence of
Skanda cult in association with the heterogeneous Matrkas. The same theme appears in the later
Puranas. If read together, they outline the evolution and the widening of Skanda cult.
Shalya Parva
27.1. The Chapter 46 of Shalya Parva of Mahabharata narrates the elevation of Kartikeya as the
Supreme Commander of the godly forces (Deva-senapathi). There is a long list of 213 Matrkas (the text
says there are many more female beings whose names are not mentioned) or warriors who fight under
the command of Kartikeya in his battles against the demons. As a group, this host of female warriors is
described in different ways. Mahabharata gives a graphic description of their appearances: Some of
them are lovely to look at, with fair skin, cheerful and youthful; while the others are of inauspicious
qualities and have long nails, broad teethe, red eyes and protruding lips, inspiring fear. They all fight
valiantly like Indra in the battle.

27.2. It said; “These and many others Matrkas numbering by thousands… of diverse forms become the
followers of Kartikeya. Their nails are long; their teeth are broad and their lips protruding. Of straight
forms and sweet nature all of them endowed with youth, were decked in ornaments. Possessed of
ascetic merit, they were capable of assuming any form at will. Not having much flesh on their limbs,
they were dark and looked like clouds in hue and some were of the color of smoke. The braids of some
were tied upwards; and the eyes of some were tawny; and some had girdles that were very long. Some
had long stomachs, some had long ears; and some had long breasts. Some had coppery eyes and
coppery complexion; and the eyes of some were green.
They all have their abode in inaccessible places away from human settlements, on trees and open
spots and crossings of roads. They also live in caves and crematoriums, mountains and springs. They
of hideous appearance are adorned with weird ornaments, they wear diverse kinds of attires and speak
different strange languages. These and many other tribes of mothers are all capable of inspiring foes
with dread, followed by high souled Kartikeya the chief commander of the celestials.” (Book 9: Shalya
Parva: Section 46).
And some others were endued with the splendour of the morning sun and were highly blessed.
Possessed of long tresses, they were clad in robes of white. Of invincible power and might their
prowess was also invincible. Capable of granting boons and of travelling at will; they always were
cheerful. Possessed of great strength, some amongst them partook of the nature of Yama, some of
Rudra, some of Soma, some of Kubera, some of Varuna, some of Indra, and some of Agni. And some
partook of the nature of Vayu, some of Kumara, some of Brahma, and some of Vishnu and some of
Surya, and some of Varaha. Of charming and delightful features, they were beautiful like the asuras. In
voice they resembled the kokila and in prosperity they resembled the Lord of Treasures. In battle, their
energy resembled that of Shakra (Indra). In splendour they resembled fire. In battle they always struck
their foes with terror. Capable of assuming any form at will, in fleetness they resembled the very wind.
Of inconceivable might and energy, their prowess also was inconceivable.
27.3. Most other references in Mahabharata depict the Matrkas as inauspicious, fearful looking and
dangerous to children. Though they eventually serve Kartikeya as his mother, their initial task was to
kill him.

Devi Mahatmya
28.1. The first literary version of the group is mentioned in Devi Mahatmya. Here again, there are
various versions about the origin of the Matrkas.
28.2. According to a latter episode of Devi Mahatmya and the one in Vamana Purana, Durga created
Matrkas from herself; and with their help slaughtered the demon army.
28.3. In another important chapter of Devi Mahatmya, it is said, the Matrka goddesses were created by
male Gods in order to aid Mahadevi in the battle against the demons Shumbha and Nishumbha. The
Matrkas emerge as Shakthis from out of the bodies of the gods: Brahma, Shiva, Skanda, Vishnu and
Indra. The texts describe their appearances and the destruction of the demons:
“Shakthis having sprung from the bodies of Brahma, Shiva, Skanda, Vishnu, and Indra; and having the
form of each approached Chandika. Whatever, form, ornament and mount a particular god possessed,
with that very form did his Shakthi go forth to fight the Asuras. In a heavenly conveyance drawn by
swans with rosary and water pot came forth the Shakthi of Brahma: she is known as Brahmi.
Maheshwari sallied forth, mounted on a bull, bearing the best of the tridents, with serpents for
bracelets, adorned with the crescent of the moon. Ambika having the form of Guha (Skanda) as
Kaumari went forth to fight the demons, with spear in hand, having the best of peacocks as her mount.
Then Shakthi known as Vaishnavi went forth, mounted on Garuda, with conch, discus, club, bow and
sword in her hand. The Shakthi of Hari who has the matchless form of a sacrificial Boar then came
forth bearing the body of a sow. Narasimhi having the form like the man-lion then came forth with many
a constellation cast down by the tossing of her mane. Then Aindri with thunderbolt in her hand,
mounted upon the lord of elephants went forth; she had thousand eyes just like Indra. Then Shiva
surrounded by the Shakthis of the gods said to Chandika: “may the demons quickly be slained by you
in order to please me”. Then from the body of the Goddess came forth the frightening power of the
Shakthi of Chandika herself, gruesome, yelping like thousand jackals. And she the invincible one
spoke to Shiva of smoky matted locks:” You yourself become messenger to Shumbha and
Nishumbha”.
[Because the Devi appointed Shiva himself as the messenger she gained renown as Shiva-duti.]
The Narayani Stuti, narrated in chapter 11 of the Devi Mahatmya, is sung with great gusto charged with
intense devotion and a blessed sense of fulfilment. The verses 13 to 21 of Narayani Stuti are dedicated
to Matrkas – Brahmi, Maheshwari, Kaumari, Vaishnavi, Varahi, Narasimhi, Indri, Shivaduti, and
Chamnda. In salutations to the Matrkas, the verses describe, in brief, the splendour, virtues, powers
and vahanas of these deities which are but the aspects of the Maha Devi, the Great Mother Goddess.
Salutations to you Oh Narayani who assumes the form of : Brahmi riding celestial Chariot Yoked
with Swans; Maheshwari adorned with the moon , riding the Great Bull and holding the trident; Kaumari
of great virtue holding the powerful spear, surrounded by peacocks , cocks and bears; Vaishnavi the
most excellent holding shankha , chakra , gadha and the dhanus; Varahi appearing as a ferocious Boar
sporting awesome tusks , rescuing Mother Earth from her distress; Narasimhi as lioness in fearsome
rage , destroying the enemies and protecting the three worlds; Indri the glorious queen of thousand
eyes , destroyer of the Demon Vritra , in all her splendour decorated with a diadem and holding a
blazing thunderbolt; Shivaduti roaring loudly who sent Shiva himself as messenger and destroyed the
Demons; and, Chamuda the most ferocious and invincible with dreadful face and sharp protruding
fangs , adorned with garland of severed heads, the destroyer of Demons Chanda and Munda.
.

Hamsa yukta Vimaansthey brahmaani rupa dharini!

Kau shaambhaha ksharikey devi narayani namosthu they!!
Trishula chandraahidhare mahaa vrisha bhavaahini !
Maaheswari swarupena narayani namosthu they!!
Mayura kukkuta vrithey mahaashakti dhare naghe!
Kaumaree rupa samsthaane narayani namosthu they!!
Shankachakra gadhaa shaangaha griheetha paramaayudhey !
Praseeda vaishnavi rupey narayani namosthu they!!
Griheetho gramaha chakra damshtro dhritha vasundarey!
Varaaha rupinee shive narayani namosthu they!!
Nara simha rupenogrena hanthu daithyaan krithodhyamey !
Triylokyathraana sahithey narayani namosthu they!!
Kireetini mahaavajrey sahasna nayanojwale !
Vrithapraana hare chaindri narayani namosthu they!!
Shiva dhoothee swarupena hathadaithya mahabale!
Ghorarupey mahaaraave narayani namosthu they!!
Damshtraa karaala vadaney shiromaalaa vibhooshaney!
Chamundey munda mathaney narayani namosthu they!!
29.1. Following this episode, the later texts largely adopted the standard group of seven Matrkas
consisting: Brahmi, Maheshwari, Kaumari, Vaishnavi, Varahi, Indrani and Chamunda. At times,
Narasimhi is mentioned in place of Chamunda. The Varaha Purana names Yami – the Shakthi of Yama,
the power of regulation and withdrawal as the seventh; and Yogishwari as the eighth Matrka, created
by flames emerging from Shiva’s mouth. The Devi-Purana mentions nine Matrkas, by including Gana-
nayika or Vinayaki – the Shakthi of Ganesha, and Mahabhairavi to the standard set of seven.
29.2. There is also a tradition of Ashtamatrikas, eight Matrkas, which is prevalent in Nepal region. In
Nepal, the eighth Matrka is called Maha-Lakshmi (she is different from Vaishnavi). Narasimhi does not
figure in the lists of Devi Purana and Nepal.

29.3. By about the seventh century Matrka’s and names and number– seven or eight- gradually began
to get standardized. They took on the characteristic of their corresponding male gods; and came to be
worshipped as Shakthis or energies of gods.
30.1. But, when you look across the various versions of the origins, evolution and development of the
Matrkas you find that their names, numbers and attributes had been highly inconsistent. Most of the
relevant texts that speak of the early stages of their development referred to Matrkas primarily as a
group of goddesses, unspecified in number, inimical in nature and dangerous to children. None of the
Matrka was significant in herself. The group was largely viewed and feared as hordes of malicious
spirits harming pregnant women and children. In the later texts they were projected as troops of female
warriors of ferocious nature assisting gods and goddesses in their battles against the demons. It was
under the auspicious of the Tantra and Shaktha theology that the Matrkas were thoroughly reformed
and rendered into worship-worthy benevolent mother-like goddesses of great spiritual merit.
30.2. Nevertheless, it would be interesting to put together, in one place, their names and numbers as
they appear in various texts spread over the centuries.

Inconsistent names and numbers

Mahabharata
31.1. In Vana Parva of Mahabharata the Matrkas referred to as Lokamata of inauspicious qualities and
habits are said to be a group of about sixteen.
31.2. In another episode narrated in Vana Parva when Indra strikes Skanda with his thunderbolt many
Matrkas emerge from Skanda’s body. Skanda groups them into Shiva and a-Shiva, good and evil
Matrkas.
31.3. The auspicious Matrkas –Devasenas- are said to be eight: Sasti, Laksmi, Asa, Sukhaprada,
Sadvrtti, Aparajita, Sinivali and Khuhu.
31.4. Another version of the episode mentions the eight auspicious Matrkas as: Sinivali, Anumati, Raka,
Gungu, Sarasvathi (Dhata), Indrani, Varunani and Khuhu. Among these, Raka (subhaga) the rich and
bountiful granter of offspring and Sinivali the sister of gods (devanam svasa) are prominent, while
Gungu is rather an obscure name; and some say, Gungu could be another name for Khuhu. All these
goddesses are related with fertility, as also with different phases of the moon. Among these, Anumati
personifies the night before the full -moon night; Raka the full–moon night; Sinivali the night before
new-moon night; and Khuhu the new-moon night. And, later these goddesses also come to be
identified with metres (Chhandus): Anumati with Gayatri; Raka with Trishtubh; Sinivali with Jagati; and
Khuhu with Anushtubh.
31.5. The inauspicious Matrkas of malicious nature (asiva-matrka) are also said to be eight: Kaki,
Halima, Malini, Brhali, Arya, Brahmata, Palala and Vaimitra. In some versions the names of Raudra and
Rshabha are added.
31.6. From among the groups of goddesses who came to be associated with the birth of Skanda the
most important are the Krittikas. Another legend in Vana Parva of Mahabharata says that the six who
were the wives of sages (among the Sapta-rishis) were accepted by Skanda as his mothers. And they
prayed to Skanda to be named as Maha-matrkas, Great Mothers. These six goddesses are identified or
associated with the constellation Krittika, presided over by Agni. It is said; The Krittikas are six. But
when they ascended into heaven they became seven stars (Saptasirasabham): [Amba; Dula; Nitatni;
Abhrayanti; Meghayanti; Varshayanti; and Chupunika.].
31.7. Yet another list of ten Matrkas, inauspicious grahas (seizers) having hideous forms are mentioned
in Vana Parva of Mahabharata. They are named as: Vinata, Kadru, Putana, Shita Putana, Revathi, Diti,
Surabhi, Sarama, Lohitayani and Arya. Another version lists them as seven: Revathi, Mukhamadika,
Vinata, Putana, Sitaputana, Lohitayani and Sarama. Apart from these, eighteen other grahas are
mentioned, without naming them specifically.
31.8. Shalya Parva of Mahabharata provides a long list of 213 Matrkas associated with Skanda (the text
says there are many more that are not mentioned).These Matrkas are troops of female warriors who
fight under the command of Skanda (Deva-senapathi).
Puranas
32.1. In the Devi Mahatmya the Saptamatrkas (seven Matrkas) mentioned are: Brahmi, Maheshvari,
Kaumari, Vaishnavi, Varahi, Indrani and Chamunda. At times, Narasimhi is mentioned in place of
Chamunda.
32.2. In some versions the, Martkas are counted as eight (Ashta-Matara) by including Narasimhi.
32.3. Nepal follows the tradition of eight Matrkas (Ashta Matara) but it counts Maha-Lakshmi as the
eighth Matrka and omits Narasimhi.
32.4. Devi Bhagavata Purana (Book five; Chapter 28) while describing the battles fought by the Devi
names ten Matrkas; and mentions that the Shakthis of the other gods (the wives of Kubera, Varuna, and
other Devas) also came there with proper forms and joined the battle. The ten Matrkas mentioned are:
Brahmi; Vaishnavi; Maheshwari; Kaumari; Indrani; Varahi; Narasimhi; Kalika; Shiva-duti; and Chandika.
32.5. Devi Bhagavata mentions that when Parvati approached to bless Skanda, she was accompanied
by six Matrkas: Gauri, Vidya, Gandhari, Kesini, Mitra and Savitri.
32.6. Devi-Purana mentions nine Matrkas, by including Gana-nayika or Vinayaki – the Shakthi of
Ganesha; and Mahabhairavi – Shakthi of Bhairava, to the standard list of Saptamatrkas.
32.7. Devi Purana also describes a pentad of Matrkas (Matra-panchaka), who help Ganesha in killing the
demons. The five mothers named are: Kaumari, Rudrani, Chamunda, Brahmi and Vaishnavi.
32.8. The Varaha Purana names Yami – the Shakti of Yama, as the seventh; and Yogishwari created by
flames emerging from Shiva’s mouth, as the eighth Matrka. These two replace Indrani and Narasimhi.
32.9. Vamana Purana (57; 27-29) gives a long list of 49 Matrkas accompanying Skanda.
32.10. Agni Purana (299.4950) mentions 38 female divinities. Of these, the Balagraha that affect the
children day-wise are called Putana; and those that affect children year-wise are called Sukumarika.
Tantra
33.1. The Tantra counts nine Matrkas by including Chandika and Mahalakshmi to the standard list of
Saptamatrkas (Brahmi, Maheshvari, Kaumari, Vaishnavi, Varahi, Indrani and Chamunda).The Yoginis,
who are the attendants of the Goddess Devi, are regarded as daughters of the Matrkas. Each Matrka is
said to have nine daughters, thus bringing up a total of eighty-one Yoginis.
However, the tradition following the cluster of eight Matrkas (Kaula Tantra) counts sixty-four Yoginis
(Chaushatti Jogini); each Matrka having eight daughters. And, each of the 64 yoginis is also associated
with currents or ‘winds’ in human astral body.
[In certain traditions, each Matrika is also a yogini. The Tribal roots of Hinduism by Shri Shiv Kumar
Tiwari (page 129-130) mentions that Mother goddesses are categorized in two ways. In one, as given
in Kalika –purana, Matrkas and yoginis are listed together; they are of same family (kula). And, the
other list (as given in Agni-purana) excludes Matrkas. The former list assigns high position to yoginis,
while the other list relegates yoginis to lower positions. The list of 64 yoginis (which excludes Matrkas)
belongs to the latter category. ]
[Incidentally, in the Tantra–tradition, the eight Matrkas represent the eight tattvas, the eight powers of
the manifested universe. At the micro level, the eight Matrkas are said to manifest (prakata) in their
gross form (stula-rupa) as eight body-constituents : skin (Brahmi); blood (Maheshwari); muscle
(Kaumari); fat-tissue (Vaishnavi);bone (Varahi);bone-marrow (Indrani);semen (Chamunda);and vitality
(Mahalakshmi) . Another text Sethu-bandha (8 – 123) mentions that the eight are located in the human
body at the : meet of the eyebrows (Brahmi);breasts (Maheshwari);navel (Kaumari);heart
(Vaishnavi);face (Varahi); nose (Indrani);neck((Chamunda) and forehead (Mahalakshmi).
Even otherwise the number eight has a special significance in the Tantra. It is associated with: the
eight directions with four cardinal and four intermediate points (digbandahs); the eight types of yogic
powers or attainments (siddhis); the eight primary mystic symbols (mudras) ; the eight limbs of Yoga
(astanga) ; and of course eight forms of the Divine Mother (Matrkas) .Further , the 64 (8×8) celled
square Manduka/ Chandita Mandala is regarded as the Mandala of the Siddhas where in its 64
chambers (kalas) Shiva and Shakthi reside (Thirumandiram V. 1418).]
33.2. The Uttara Tantra Shastra (Chapter 27) names eight graha-s (seizers) as: Skanda-apasmara
(Vishakaha), Shakuni, Revathi, Putana, Andhaputana, Shitaputana, Ukhamandika, and Naigamesha.
33.3. The Shakthi – sangama – Tantra (Upatti-khanda) gives a list of fifty Matrika kalas : Nivritti,
Pratishtita, Vidya , Shanthi , Indhika , Dipika , Mochika , Para , Sukshma , Sukshmamrita , Jnanamrita ,
Apyayani , Vyapini , Vyomarupa , Ananta , Srishti , Riddhi , Smriti , Medha , Kanti , Lakshmi , Dyuthi ,
Sthira , Sthithi , Siddhi , Jada , Palini , Shanthi , Aishvarya , Rati , Kamika , Varada , Ahladini , Prithi ,
Dirgha , Tikshna , Raudri , Bhaya , Nidra , Tadra , Kshudha , Krodini , Kriya , Utkari , Mrityurupa , Pita ,
Sheveta , Asita , and Ananta.
Other references
34.1. Utpala (ninth century) commentator of Varahamihira‘s (fifth – sixth century) Brihat Samhita refers
to Matrganah, the group of eleven Matrkas as Brahmi, Vaishavi, Raudri, Kaumari, Aindri, Yami, Varuni,
Kuberi, Narasimhi , Varahi and Vinayaki.
34.2. The Devi Puja vidhi (a religious text of the middle centuries) mentions sixteen Matrkas (Shodash
Matrika) and names the sixteen as : Gauri; Padma; Sachi ; Medha; Savitri ; Vijaya; Jaya ; Devasena;
Svaha; Svadha ; Matru : lokamatru; Dhriti; Pusti; Tushti; Kuladevi.
[The Shodash Matrika along with Ganapathy are invariably worshipped at the commencement of the
marriage rituals.]
34.3. There are two other lists of the Shodash Matrkas:
: Savitri; Gayatri; Sarasvathi; Jaya; Thristi; Megha; Puasti ; Tushti ; Dhriti; Vijaya; Devasena; Svadha;
Svaha ; Matara; Lokamatara; Kuladevi.
: SavitriI; Kaumari; Rudrani ; Brahmani ; Gayatri; Tridhi ; Dhiriti; Vijaya; Jaya; Chandravigraha; Bhima;
Chamunda; Varahi; Indrani; Narayani; and Narasimhi.
34.4. The Puja Vidhi also mentions seven home deities Grihamatrikas: Lakshmi; Shree; Dhriti; Medha;
Pragya; Svaha; Sarasvathi.
35.1. Thus, the numbers, names and the order of the Matrkas have been highly inconsistent
throughout. These are spread across the centuries covering their varied appearances, such as: the
Balagraha, the female warriors, Krittikas, the mothers related to Skanda legend, Purana-deities, Tantra–
shakthis, ritual-goddesses, the Vedic heptads etc. But, their numbers were eventually restricted to
seven; and a set of Saptamatrkas was accepted as the standard. Such crystallization of the
Saptamatrka possibly occurred in the late fourth century or early fifth century.

Why Seven?
36.1. Some argue that the restriction of the number of Matrkas to seven is somewhat arbitrary. But,
there also are many explanations which try to rationalize the formation of the close knit group of seven.
These elucidations are essentially based in the Vedic belief in heptads.
36.2. It is said; the idea of Matrka as group of seven goddesses is linked fundamentally to the Vedic
preference for number seven; and to the symbolisms associated with heptads. The other ancient
cultures such as Babylonians, Greeks and Hebrew seemed to have similar fixations with the number
seven.
In the Vedic context, seven was conceptually rendered into a single unit. It represented the sense of
completeness. To go beyond number seven was to be born into a new sphere of existence; either to
enter into a new cycle or to enter into a higher order of existence. Seven was employed as a notional
unit to count, to gauge and to map out the material world as also the components of life. Structuring
the world into units of seven seemed to be an attempt to impose order on the seemingly chaotic.
36.3. The Vedic people therefore viewed the world around them as composed of units of seven. For
instance, the Universe was understood as having seven layers , each with seven Adityas (Suns) ; and
the Sun’s rays having seven colours (sapta varna). Similarly ,the planet earth was seen as made of:
seven islands (sapta-dweepa-Vasundhara); seven regions (sapta loka); seven communities (sapta
kula); seven seas (sapta samudra); seven mountains (sapta parvatha); seven deserts (sapta arania);
seven cities (sapta pura); and seven holy trees (sapta vriksha) and so on.
36.4. The number seven was found significant in understanding the composition of human body ,
which is made of seven types of substances (sapta dhatu); seven senses (sapta indriya); seven energy
centres including the final Sahasrara chakra (sapta chakra); seven phases of existence or seven states
of consciousness (Bhu; Bhuvaha ; Suvaha; Mahaha; Janaha; Tapaha and Satyam) and so on.
36.5. The Vedic poets composed verses in seven meters (sapta-chandasmi) having seven syllables
(saptaream bhavathi) and sang in seven notes (sapta swara).Their most highly respected sages were
seven (sapta rishi) . In certain yajnas seven altars were constructed (sapta-chitikagni) and altars had
seven layers of bricks. Agni has seven tongues of flames.
36.6. The most important aspect of Vedic life was its perennial river systems. The seven
rivers Sapta Sindhu (Iravathi, Chandrabhaga, Vitasta, Vipasa, Satadru, Sindhu and Sarasvathi) were
venerated as the life giving Mothers; and, Sarasvathi was the best of the mothers. It was from the
depths of these waters that life arose; and the sun emerged and ascended the sky. Those waters were
not mere physical features of their land; but were the very source of their life, of their divinities and of
the meaning to their life. All their songs, myths and legends surround these seven rivers, the seven
mothers (sapta matarah).
37.1. It was not therefore surprising that in the later ages when attempting to bring in a sense order into
the chaotic world of Matrkas the ancient unit of seven was employed. It signified authenticity and
‘completeness’. It also, perhaps, suggested belief in the auspiciousness of odd numbers. And, by
refining their natures, attributes and appearances; and by linking them to the older Vedic concept of
the heptads, the Matrkas were invested with an aura of sacredness and spiritual authority.
37.2. Just as the seven mother-like rivers (sapta matarah) of Rig Veda, the Saptamatrkas, the mother-
like goddesses, came to be characterized by their maternal nature and movement. The concept of
Saptamatrka, the seven mothers, is thus an extension of the idea of visualizing the seven rivers as
mothers. The Krittika constellation, incidentally, marked the beginning of a new yearly time cycle.
Krittikas the Mothers of Skanda are, thus, also the mothers of time and of regeneration; and are
initiators of the next epoch.

Iconography
38.1. The iconography of Saptamatrkas presents a very interesting study. Normally, an icon or image of
a god or a goddess is visualized and presented in a standard form following the descriptions of its
attributes, dispositions, postures and features as narrated in the related texts. And, the salient aspects
of the icon–to be-sculpted are, usually, epitomized into pithy Dhyana Slokas, for the guidance of the
Shilpi.
38.2. But in the case of the Matrkas, their concepts, appearances and nature change rapidly from
period to period, from text to text and from tradition to tradition. Their individual portrayals too vary
from their group presentations. When portrayed individually they are depicted as benevolent and
graceful mother-like goddesses. But, in group they appear as warriors; and their names and numbers
also differ. Further, there are the regional variations in their depictions. These again are guided by the
then current theological interpretations, the sculptural styles of the period and the ingenuity of the
sculptors. Thus, when you look across their evolution and development spread over the centuries you
find there is no single standardized universally recognizable form of the Matrkas. Each period, each
region and each tradition developed its own iconographic interpretations.
38.3. Another interesting feature of Matrka- iconography is that their sculptural depictions are in no
way linked to their descriptions narrated in the Puranas and other literary sources. The icons are hardly
related to the narrative content. The Matrkas of the Puranas are invariably gruesome warrior females
fighting the Demons. The ferocious, blood-drinking Matrkas are not referred to as mothers; nor is there
a reference to their ‘motherly-qualities’. The early Balagraha deities called as Matrkas in the Kushana
period were dangerous to children .Even the Matrkas associated with Skanda were inimical to children
up to their age of five or sixteen. Thus, there is an obvious mismatch between the Matrkas described in
the Puranas and the sculptural depictions of ‘mother-goddesses’ of the later periods.
38.4. It is only in the post-Gupta period and the medieval centuries the numbers, names and natures of
the Matrkas started getting standardized .That was mainly due to the influence of the Tantra and
Shaktha cults. In the depictions that followed thereafter, Matrkas were portrayed as goddesses, radiant,
graceful, benevolent and caring mothers. Each Matrka came to be associated with a particular divine or
mystic aspect in Tantra or Yoga. In sculptures, their motherliness was often emphasized by their
playful attitude towards the children they carried on their laps. But, they held on to the weapons of war.
And, yet their associated symbolisms were retained; harmony in their overall structure and
countenance were ensured. The later Sculptures of mother goddesses exhibit aesthetic maturity and
divine charm
39.1. The coexistence of male and female principles in the Saptamatrka depictions is yet another
instance of dichotomy. Sometimes; Matrkas are described as feminine forces that derive their names
and attributes from male gods. Hence, they are taken to imply the coexistence of male and female
principles. Yet the female is dominant. In fact, the male is completely replaced. It is the feminization of
the male personalities. Shaktha tradition achieves this through transformation of the already existing
male gods into independent goddesses, female principles, Shakthis; thus, reinventing an absolutely
new conception of a Goddess.
39.2. Speaking of the later times, the general descriptions of the Matrkas are given in various other
texts. The vast body of references includes Purana, Agama, Tantra and Shilpa texts. The various texts
of Shipa shastra:
Aparajitaprccha, Rupamandana and Manasollasa provide iconography – details of Matrka sculptures.
There is, of course, the authoritative Vishudharmottara. Further, Agamas like Amsumadbhedagama,
Surabhedagama and Ruruvarnagama also contain instructions for making Matrka images. In
addition, several Tantra texts such as Svachhanda Tantra and Yogini Hridaya contain detailed
descriptions of the Saptamatrkas.
39.3. Brihat-samhita (sixth century) says that the Matrka images are to be made with the emblems,
banners, ayudhas, vahanas and ornaments that are associated with the male gods after whom they are
named. Brahmi should be sculpted like Brahma; Maheshwari like Maheshwara; Vaishnavi like Vishnu;
Varahi with boar-face like Varaha; Indrani (Aindri) like Indra; and Kaumari like Skanda. But, Chamunda
is herself, a terrifying war goddess with dishevelled hair and fearsome countenance.
40.1. The following is a brief summary of the Matrka descriptions as given, mainly, in Rupamandana, in
Aparajitapuccha of Bhuvanadeva and in Vishudharmottara:

When the Matrkas are sculpted on a panel or arranged in a row they should be placed between
Gananatha and a form of Shiva such as Vinadhara or the fierce Bhairava or Virabhadra at the other end.
All the Matrkas are to be seated (asana) in comfortable lalithasana with the right leg stretched down
(lambaka padam) and the left leg bent and kept on the seat (sayanam padakam); or
in ardhaparyankasana with the right leg folded and the left bent perched on the edge of the seat; or in
the formal padmasana .All are shown seated on their respective vahanas. Sometimes, the child-motif is
etched on the pedestal or a child is placed on their laps [In many south Indian sculptured panels of
later times the child or the child-motif is not depicted].
Two of their hands gesture protection (abhaya) and blessing (varada) while their other hands hold
weapons and emblems associated with their male counterparts. They are well adorned with ornaments
like a suitable simple crest (makuta or mouli) or a wreath of flowers around jatamakuta, flower garlands
(vanamala), necklaces (haara), circular ear-rings (rathna kundala), simple armlets (ekavali), bracelets,
anklets, jewelled waist-bands (kati–mekhala or kati-bandha) etc. “Matrikas should be endowed with
beautiful breasts, a slender waist and full hips so that female beauty may be celebrated.”
40.2. In the row of seated Matrkas, Brahmi is depicted as bright as gold, four faced riding swan (hamsa)
holding akshamala, pusthaka and kamandalu. Maheshwari fair in complexion, her hair (jatamakuta)
adorned with crescent moon rides a bull holding in her six
hands akshamala, shula, khadga, khatvanga and maatulinga fruit (a kind of sweet lime with seeds
inside). Vaishnavi of dark complexion with a lovely face, adorned with ornaments and garlands of
flowers (vanamala) rides Garuda , holds shankha, chakra, gadha, and padma; and in her two other
hands gestures abhaya and varada. The six faced Kaumari rides a peacock and holds in her ten
hands shakthi, dwaja, danda, dhanus, bana, akshamala, kukkuda and kamandalu; and in her other two
hands gestures varada and abhaya. Varahi of the complexion of storm-cloud, boar-faced rides a buffalo
holding danda, khadga, khetaka and pasha. Aindri of red complexion is seated on an elephant
holding sutra, vajra, kalasha and paatra. Chamunda of dark red complexion, deep-set eyes, fierce
looks, dishevelled hair bristling upwards, emaciated body, bright tusk-like teeth; wearing garland of
skulls , rides a preta ghoul holding a trishula, kapala, khatvanga and fire.

40.3. The descriptions summarized above are rather the classic features as narrated in texts. But, in
most cases when Matrkas are etched in a row over temple walls or in small niches, they all are made to
look alike with a single face each. They are distinguished from each other by the ayudhas they carry or
the emblems (lanchanas) etched below the figures on countersunk panels. In some cases, each Matrka
might be provided with a child; either in the lap or made to stand by the side. The group usually is
flanked by Vinayaka and Virabhadra.

Let’s look at the Matrkas, individually, in the next part.

Saptamatrka – Part Four

Radiant Goddesses
41.1. The group of seven mother-like goddesses, Matrikas, as commonly accepted, consist Brahmi,
Vaishnavi, Maheshwari, Kaumari, Varahi, Indrani and Chamunda.
ब्राह्मी माहेश्वरी चैव कौमारी वैष्णवी तथा । वाराही च तथेन्द्राणी चामुण्डा सप्तमातरः ॥
According to a version of their origin, as narrated in Devi Mahatmya, it is said, the Matrka goddesses
were created by male Gods in order to aid Mahadevi in her battle against the demons Shumba and
Nishumba.

The Matrkas emerge as Shakthis from out of the bodies of the gods: Brahmi form Brahma; Vaishnavi
from Vishnu; Maheshwari from Shiva; Kaumari from Skanda; Varahi from Varaha; and Indrani from
Indra. They are armed with the same weapons, wear the same ornaments and ride the
same vahanas and also carry the same banners like their corresponding male Gods do. Saptamatrkas
as a group indicate transformation of the male identities of gods into goddesses. These seven mother
goddesses, celebrated as a group, are an embodiment of the female principle of prakrti, the counterpart
of purusha.

Group composition
41.2. The Saptamatrka group is, thus, composed of: two Vaishnava Shakthis (Vaishnavi and Varahi);
two Shaiva Shakthis (Maheshwari and Kaumari); one Brahmi Shakthi, in addition to Indrani (Aindri) and
Chamunda. It is a group of six Deva Shakthis and one Devi Shakthi, making it into an integrated unit of
seven.
42.1. Many have attempted to explain the rationale in the composition of Saptamatrka group. One
explanation mentions that the group of seven goddesses was derived from the gods that were
considered important during the Gupta period. By then, the major gods – Shiva and Vishnu – had
already attained independent – super status within the Vedic pantheon. Brahma was in any case one
among the trinity, though a less impressive one. And, Skanda had risen into prominence since the time
of Kushanas when he was absorbed into Shiva pantheon; and he developed further during the Gupta
era. Varahi the counterpart of Varaha was more popular during the Gupta period than any other avatar
of Vishnu. Aindri is the only counterpart of the Vedic gods who by then had lost their importance.
Chamunda, of course, represents the principal feminine force. The omission of the counter part of
Surya who was a major god, acceptable to all sects, during the Gupta period is rather surprising.
Similarly, of Ganapathi who was just beginning to rise to prominence.
42.2. The Saptamatrkas were earlier connected with Skanda (Kumara), but in later times were absorbed
into the sect of Shiva himself. Aptly, the Saptamatrka panel begins with Ganesha, the son of Shiva; and
ends with an aspect of Shiva such as Bhirava or Virabhadra. Sometimes, Natesha or Vinadhara –
Dakshinamurthy represents Shiva. The presence of Ganesha at the beginning of the panel, it is
explained, is prompted by the faith that Ganesha as the Lord of the Ganas would remove obstacles;
help the devotee in his pursuit; and guide him along his endeavour. From the sixth century onwards
inclusion of Ganesha in the format became a standard practice. Thereafter, depiction of Ganesha and
Shiva, and sometimes along with Skanda, became quite common. For instance, In the Matrka panels at
Aihole and Elephanta caves Ganesha and Skanda are shown as child gods along with Shiva. Thus, in
association with Chamunda, the Saptamatrka panel was rendered into a composite unity.

43.1. As regards the presence of Ganesha and Virabhadra at either ends of the Saptamatrka panel,
Shri DSampath observes, elsewhere: The Saptamatrikas symbolically represent the seven different
aggressive tendencies of the female part of a human being. When unleashed; they tend to destroy the
wellness that comes out of a fostering mother. Children below the adolescent age are likely to be
influenced by such harmful energies. Those adverse influences breed in kids a sort of ’non- motherly’
destructive attitude. And, these aggressive tendencies (energies) are meant to be contained and held in
check by the two male energies: of Vinayaka who was ‘mother- born’ and who regarded all women as
mothers; and of Virbhadra who could invoke motherly virtues in any woman. Between the
manifestation of rational Vinayaka and the fiery Virabhadra these female energies were to be
harnessed.

43.2. The other significant aspect about the Saptamatrka group formation is the order in which they
appear in the traditional texts. The order symbolizes the cycle of creation and its cessation; and
presents it as the functions of female power-Shakthi.
The order of the Saptamatrka usually begins with Brahmi symbolizing creation. It is often represented
by the all-comprehensive primordial Nada Om (pranava).Then, Vaishnavi provides the created world
with symmetry, beauty and order. Maheshwari, who resides in the hearts of all beings, breaths in life
and individuality. Kaumari, Guru-guha, the intimate guide in the cave of one’s heart, inspires
aspirations to develop and evolve. Varahi is the power and aggressive intent to go after enjoyment.
Indrani is the sovereignty intolerant of opposition and disorder .Chamunda is the destroyer of
delusions and evil tendencies, paving way for spiritual awakening.
43.3. The most important significance of Saptamatrka symbolism is the implication of the cyclical
universal time and its cessation. In the standard versions, Brahmi symbolizes creation; Vaishnavi the
preserver occupies the central position flanked by three goddesses on each side. The cycle of periodic
time ends with dissolution symbolized by Chamunda. She is the only Devi Shakthi among the Matrkas.
She is at times depicted as one who exists beyond death and time. Kalabhairava, who usually appears
at the end of the Saptamatrka panel, symbolizes liberation from cycle of birth and death. Thus, it is
said, Saptamatrkas epitomize the process of creation, preservation and death; and, the final liberation
that takes one beyond time. This is in tune with the Shaktha theology which rationalizes creation,
preservation and destruction of the world as the functions of female power-the Shakthi.

In Sri Chakra
44.1. In the Sri Chakra, Chatushra the outermost four-sided square field (bhupura – the earth
stretch) known as Trailokya-mohana-chakra is composed of three lines which make way for four doors
(dwara) on four directions. These sets of lines are also described as the layers of the enclosure wall
which surround the city of the Devi (Tripura). The three lines are understood to represent three planes
of existence: attainments, obstructions and powers. The three planes are related to the body-mind
complex and its experiences with the world around. The associated goddesses are worshiped by the
aspirant seeking protection and guidance as he/she enters into Sri Chakra.
44.2. Along the outer line the ten Siddhis (attainment-divinities) reside; along the middle line reside
eight Matraka the Mother-like powers; and, and along the inner line are the ten Mudra-
devatas (goddess who empower).
44.3. As said; the middle wall (line) is guarded by the Matrkas. The wall is red in colour; the red of the
rising sun, signifying the Rajo guna of the Matrkas who are said to represent eight types of passions.
The Matrkas, according to Bhavanopanishad of Bhaskararaya Makhin, are said to be dark blue in color;
wearing red garments; carrying a red lotus and a bowl filled with nectar.
44. 4. The Bhavanopanishad (9) recognizes Matrkas as eight types of un-favourable dispositions, such
as: desire, anger, greed, delusion, pride, jealousy, demerit and merit. Tantra-raja-tantra (36; 15-16)
expands on that and identifies Brahmi with desire (Kama);Maheshwari with the tendency to degenerate
and dissipate (krodha);Kaumari with youthful longings to enjoy (lobha);Vaishnavi with power to
fascinate and delude (moha); Varahi with pride and arrogance (mada);Indrani with jealousy and envy
(matsarya);Chamunda with urge to sin (papa) and hurt(abhichara); and , Mahalakshmi with doing good
(punya) with other than altruistic reasons. Matrkas who rule over such un-favourable dispositions are
worshipped by the Sadhaka with prayers to suppress and overcome the evil tendencies that obstruct
his progress.
44.5. According to Khadgamala (vamachara) tradition of Sri Vidya, the eight Matrkas are located along
the wall (four at the doors and four at the corners) guarding the city (Tripura) on all eight directions:
Brahmi on the West; Maheshwari on the North; Kaumari on the East; Vaishnavi on the South; Varahi on
North-west; Aindri on the North-east; Chamunda on the South-east; and, Mahalakshmi on the South-
west. Please see the figure below.

44.6. As you may notice, the Matrkas of Rajo–guna who govern over human passions are on the outer
layer of the Sri Yantra. This signifies that the Sadhaka should get past passions and prejudices before
he enters into the city of the Devi.
Matrka
Brahmi

Hamsarudha prakarrtavaya sukastraka-mandala

Sutram cha pusthakam ghate urdhva-hastha advaye shubhe (Rupamandana)

45.1. Brahmi or Brahmani the first Matrka is the shakthi of Brahma. She is depicted in bright golden
complexion, having four faces and four hands. In her back- right hand, she carries a kamandalu and in
the back- left hand an Akshamala. The front- right hand gestures Abhaya and the front- left hand
bestows Varada. She is seated under a Palasha tree, upon a red lotus. She is adorned in a mellow
bright garment (Pitambara) and various ornaments; and, has on her head karanda-makuta. Her vahana
and her emblem is the swan (Hamsa): (Amsumadbhedagama and Purva-karanagama).
45.2. The Vishnudharmottara describes Brahmi as having six hands. Of the three hands on the left, the
lowest one gestures Abhaya; while the other two hold Pustaka (book) and kamandalu. On her right, the
lowest hand gestures Varada; while the other two hold Sutra and Sruva (a ladle for pouring oblations of
ghee into fire). It also mentions deer-skin as a part of her attire.
Aum Dhevee Brahmani Vidmahe
Maha-shakthiyai Cha Dhimahee
Thanno Dhevee Prachodayath

Vaishnavi

Vaishnavi Vishnu saddasi Garudapasi samsthitha

Chaturbhuja varada shankha chakra gadadhara (Rupamandana)

46.1. Vaishnavi is the Shakthi of Vishnu. She is seated upon a lotus, under a Raja – vriksha, the great
tree. She is dark in complexion. She has a lovely face, pretty eyes and wears a bright yellow garment.
Her head is adorned with kirita-makuta. She is richly decorated with ornaments generally worn by
Vishnu. She wears the Vanamala, the characteristic garland of Vishnu. The emblem on her banner as
well as her vahana is the Garuda. When depicted with four arms, she carries in one of her hands the
chakra and in the corresponding left hand the shankha; her two other hands are held in the Abhaya and
the Varada mudra. (Devi-Purana and Purvakaranagama)
46.2. The Vishnudharmottara states that like Brahmani, Vaishnavi also has six hands; the right hands
are characterized by the Gada, Padma and Abhaya and the left ones by Shankha, Chakra and Varada.
Aum Thaarksh Yathwajaaya Vidmahe
Chakra Hasthaya Dhimahee
Thanno Vaishnavi Prachodayath

Maheshwari

Maheshwari prakarrtavaya Vrishabasana samasthitha

Kapala shula khatvanga varada cha chaturbhuja (Rupamandana)
47.1. Maheshwari also known as Raudri, Rudrani and Maheshi is the Shakthi of Shiva. She is white in
complexion; and has three eyes. She is depicted with four arms; two of which are in the Varada and
the Abhaya mudra, while the other two hands hold the Trishula and Akshamala .Sometimes, she is also
shown holding Panapatra (drinking vessel) or axe or an antelope or a kapala (skull-bowl) or a serpent.
Her banner as well as the vahana is Nandi (bull). She wears snake-bracelets; and Jata -makuta on her
head.
47.2. The Vishnudharmottara mentions that Goddess Maheshwari should be depicted with five faces,
each possessing three eyes and each adorned with jata-makuta crown and crescent moon. Her
complexion is white. She is depicted with six arms. In four of the hands she carries the Sutra, Damaru,
Shula and Ghanta. The other two hands gesture Abhaya and Varada mudra. Her banner also has the
Bull for its emblem.
Aum Vrushath-vajaaya Vidmahe
Miruga Hasthaya Dhimahee
Thanno Maheshwari Prachodayath

Aindri

Indrani Indra-sadrishi vajra-shlu-gada dhara

Gajasngata Devi lochanirvasu bhivrta (Rupamandana)

48.1. Aindri, also known as Indrani, Mahendri, Shakri and Vajri, is the shakthi of Indra; her complexion
is dark- red. She is seated under the Kalpaka tree. She is depicted as having two or three or a thousand
eyes, like Indra. The Indrani is depicted with four arms. In two of her hands she carries the Vajra
(thunderbolt) and the shakthi; while the other two gesture Varada and Abhaya mudra. Sometimes, she
is shown holding Ankusha (goad) and lotus. She is richly ornamented; and adorned with Kirita
Makuta. Her vahana as well as the emblem on her banner is the charging elephant. (Devi-
purana and Purvakaranagama)
48.2. According to the Vishnudharmottara, Indrani should be depicted with thousand eyes; and she
should be of golden colour. She should have six arms, four of the hands carrying the sutra, Vajra,
Kalasa (a pot) and Patra (a drinking cup) and the remaining hands being held in Abhaya and Varada
mudra.
Aum Gajath-vajaayai Vidmahe
Vajra Hasthaya Dhimahee
Thanno Indrani Prachodayath

Varahi

Varahim tu pravakshyami mahiso rismsthtam

Varaha-sadrisham ghantanada chamara-dharini
Ghanta chakra gada-dhara padma danvendra vighatini
Lokanamcha hitarthaya sarvavyadhi vinasini (Rupamandana)

49.1. Varahi is the Shakthi of Varaha, an incarnation of Vishnu. The Markendeya Purana praises Varahi
as a granter of boons and the regent of the northern direction. Varahi is shown with the face of a boar
and having dark complexion resembling the storm cloud. She is sometimes called Dhruma Varahi (dark
Varahi) and Dhumavati (goddess of darkness). Varahi is seated under Kalpaka tree. And, her Vahana as
well as the emblem on her banner is an elephant. She wears on her head a Karanda Makuta and is
adorned with ornaments made of corals. She wears on her legs Nupura-anklets. She wields the hala
and the shakthi and is seated under a Kalpaka tree. The PurvaKaranayama says that she carries
Sarnga-Dhanush (bow), the hala (plough) and musula (pestle) as her weapons.

49.2. In other descriptions, Varahi is identified as the Yami, the shakthi of Yama. Varahi is described
holding a Danda (rod of punishment) or plough, goad, a Vajra or a sword, and a Panapatra. Sometimes,
she is said to carry a bell, chakra, chamara (bunch of yak’s hair used as flywhisk) and a bow; and
riding a buffalo.
49.3. In the Raktabija episode of Devi Purana, Varahi is described as having a boar form, fighting
demons with her tusks while seated on a preta (ghoul).
49.4. To this description the Vishnudharmottara adds that Varahi has a big belly and six hands, in four
of which she carries the Danda (staff of punishment), khetaka (shield), khadga (sword), and pasha
(noose); while the two other hands gesture Abhaya and Varada mudra-s.

49.5. When depicted as part of the Sapta-Matrika group, Varahi who is called Panchami (the Fivefold
One) is always in the fifth position in the row of Matrikas. It is explained; Varahi summarizes fivefold
elements: water, fire, earth, air and ether. Each of these elements is related to lion, tiger, elephant,
horse and Garuda (bird-human) which serve as vehicles of Vishnu. Varahi as the shakthi of Vishnu is
depicted with head of a boar having three eyes and eight arms holding in her six hands a discus,
conch-shell, mace, lotus, noose and plough; while the other two hands gesture Abhaya and Varada
mudra-s. She is depicted as riding, alternatively, a Garuda, a tiger, a lion, an elephant or a horse.

49.6. In the Sri Vidya tradition, Varahi occupies a special position as Para-Vidya (superior power) .She
is described as Dandanayika or Dandanatha – the commander-general of goddess Tripurasundari’s
army. She is also the chief- counsellor (maha-mantrini) to the Devi. Varahi is also said to stand in a
‘father’ position to the Devi, while Kurukulla is the ‘mother’.

49.7. Varahi has presence in the Buddhist Tantric lore, also. There, she is described as the fierce Vajra-
varahi or Vajra-yogini.
Aum Varaaha-muhi Vidmahe
Aanthra-shani Dhimahee
Thanno Yamuna Prachodayath

Kaumari

Kumaara rupa Kaumari mayura bar vahana

Raktha vastra dhara padma-shula-shakthi-gandhara eti Kaumari (Rupamandana)

50.1. Kaumari also known as Kumari, Karttikeyani and Ambika is the power of Kumara or Skanda; the
war – god .Her depictions resemble that of Kumara. She is ever youthful, representing aspirations in
life. Kaumari is also regarded as Guru-Guha the intimate guide who resides in the cave of one’s
heart. She is shown seated under a fig tree (Oudumbara) riding a peacock, which is also her emblem.
Her complexion is golden yellow; and is dressed in red garments. She wears garland of red
flowers. Kaumari has four hands; and carries Shakthi and Kukkuta (cockerel) or Ankusha (goad). The
other two hands gesture Abhaya and Varada mudras. She is adorned with a makuta said to be bound
with Vasika or Vachika. She embodies ideas of valour and courage. (Purvakaranagama and Devi
Purana).
50.2. According to the Vishnudharmottara, Kaumari should be shown with six faces and twelve arms;
two of her hands gesturing Abhaya and Varada mudras. In her other hands she carries the Shakthi,
Dhvaja, Danda, Dhanus, Bana, Ghanta, Padma, Patra and Parasu. Each of her heads has three eyes;
and is adorned with karanda-makuta.
Aum Sikid-vajaaya Vidmahe
Vajra Hasthaya Dhimahee
Thanno Kowmari Prachodayath

Chamunda
 Dastrala kshindeha chagatrakarshana bhimrudani
Dig-bahuksham kushisa musalan chakra marganaum//
Ankusha bibharti khadgam daksnesvatah
Khetaasa dhanurdandam kutharam chalti bibarti//
Chamunda pretaga raktha bikratasyahi bhusanath
Dvibhuja prakatray kartika karyamnuintra //

51.1. Chamunda also known as Chamundi; and, Charchika is the Shakthi of Devi (Chandi). She is the
destructive form of Devi; and is similar in appearance and habits to Kali. Devi Mahatmya recounts that
in the course of her fight with demons Chanda and Munda, Devi created from her forehead the terrible
form of Chamunda.
There are , however, alternate explanations.
According to the text of the Devi Mahatmya, Kali is celebrated as Chamunda after she overpowers and
beheads Chanda and Munda.
śiraścaṇḍasya kālī ca gṛhītvā muṇḍameva ca । prāha pracaṇḍā aṭṭahāsa miśra mabhyetya
caṇḍikām ॥ 7.23॥
The Devi, then, declares that since Kali presented her with the heads of these two demons, she would
henceforth be renowned in the world as Chamunda – cāmuṇḍeti tato loke khyātā Devī
bhaviṣyasi .Thereafter in the text, Kali and Chamunda become synonyms.
Yasmāc-Caṇḍaṃ ca Muṇḍaṃ ca gṛhītvā tvamupāgatā । Cāmuṇḍeti tato loke khyātā Devī
bhaviṣyasi ॥ 7.27॥
Bhaskararaya Makhin, however, interprets the term Chamunda, differently, as: ‘chamum, ‘army’
and lati, ‘eats’; meaning that Chamunda is literally ‘she who eats armies’—a reference to Kali as
Chamunda who drinks the blood of the army of the demon Raktabija.
jaghāna raktabījaṃ taṃ cāmuṇḍā apītaśoṇitam । sa papāta mahīpṛṣṭhe śastra saṅghasam
āhataḥ ॥ 8.61॥
He regards the Mahadevi Chamunda, in her integrated form (Samasti), as of the nature of the Brahman-
Brahma-svarupini. She combines in herself her other diversified (Vyasti) forms of Mahalakshmi
(Aim); Mahasarasvathi (Hrim); and, Mahakali (Kilm).
51.2. Coming back to Chamunda as as a Matrika, unlike other Matrikas, Chamunda is an independent
goddess. She is also praised as the fertility goddess of Vindhya Mountains She is also associated with
Yama.
The descriptions of Chamunda are varied.
One of the descriptions of Chamunda mention of her as a goddess of terrible countenance, black and
scowling, with drawn sword and lasso, holding a Khatvanga, wearing a garland of severed heads
(munda-mala) suspended by their hair. Chamunda is clad in a tiger skin, hungry and emaciated, mouth
hideously distorted and the tongue protruding out. She sits upon a seat made of three skulls; and has a
cadaver for footrest. She plucked off the heads of Chanda and Munda and presented both heads to
Kausiki.

51.3. In other descriptions, a bear’s skin is tied over Chamunda’s clinging skirt, with its head and legs
dangling on her back. She wears the skin of an elephant as a cape and grasps two of the animal’s feet
in her uppermost hands. In her other hands she brandishes an array of weapons and awe-inspiring
objects.
51.4. Chamunda is often depicted as dark in colour with very emaciated body, having three eyes,
sunken belly and a terrifying face with a wide grin. Her hair is abundant and thick and bristles upwards.
Her abode is under fig (oudumbara) tree. On her sunken chest, swings garland of skulls (mundamala)
in the manner of a Yajnopavita. She wears a very heavy jata-makuta formed of piled, matted hair tied
with snakes or skull ornaments. Sometimes, a crescent moon is seen on her head. Her garment is the
tiger skin. Chamunda is depicted adorned by ornaments of bones, skulls, serpents and scorpions,
symbols of disease and death. And in her four hands she holds damaru (drum), trishula (trident),
khadga (sword) and panapatra (drink-vessel). She is riding a Jackal; or is seated in Padmasana or is
standing on a corpse of a male (shava or preta).She is accompanied by fiends and goblins. She is
surrounded by skeletons or ghosts and beasts like jackals, who eat the flesh of the corpse that the
goddess sits or stands on. The jackals and her fearsome companions are sometimes depicted as
drinking blood from the skull-cup or blood dripping from the severed head.

51.5. Purva-karanagama mentions that Chamunda, red in colour, should be depicted with wide open
mouth set in a terrifying face having three eyes. Her socket eyes are described as burning like flames.
She has a sunken belly; and, wears on her head the digit of the moon as Siva does. She has four arms.
The black or red coloured Chamunda is described as having four, eight, ten or twelve arms, holding
a Damaru (drum), trishula (trident), sword, a snake, skull-mace (khatvanga), thunderbolt, a severed
head and panapatra (drinking vessel, wine cup) or skull-bowl (kapala), filled with blood, an urn of fire.
She wears in her ears Kundla-s made of Conch shell (Sankha Patra). Her Vahana is an Owl; and the
emblem of her banner an Eagle.
51.6. Vishnudharmottara describes Chamunda as having a terrific face with powerful tusks and seated
upon a male corpse. She has a very emaciated body and sunken eyes and ten hands. The belly of this
goddess is thin and apparently empty. She carries in her ten hands: Musala, Kavacha, Bana, Ankusha,
Khadga, Khetaka, Dhanus, Danda and Parasu.
Aum Pisaasath-vajaaya Vidmahe
Soola Hasthaya Dhimahee
Thanno Kali Prachodayath

Narasimhi

52.1. In the Devi Mahatmya, the Saptamatrkas (the seven Matrkas) mentioned are: Brahmi, Maheshwari,
Kaumari, Vaishnavi, Varahi, Indrani and Chamunda. At times, Narasimhi is mentioned in place of
Chamunda. In some versions, the Martkas are counted as eight (Ashta-Matara) by including
Narasimhi. There is also a tradition of Ashtamatrikas, eight Matrkas, which is prevalent in Nepal region.
In Nepal, the eighth Matrka is Maha-Lakshmi (she is different from Vaishnavi). Narasimhi does not
figure in the lists of Devi Purana and in Nepal.
52.2. Narasimhi or Narasimhini or Narasimhika with the face of a lion, fierce claws and four arms is the
shakthi of Narasimha. She is said to have came out from the heart of the Devi. As Matrka, Narasimhi is
regarded as an independent deity; and not as a female counterpart of Narasimha. In The Vaishnava
School, she is believed to be an aspect of Lakshmi who pacified the ferocious Narasimha.

52.3. In Devi Mahatmya, Narasimhi accompanies Devi in the fight against demons Shumbha and
Nishumba. There Narasimhi is described as a ferocious warrior: Narasimhi arrived there, assuming a
body like that of a Narasimha throwing the stars into disarray, bringing down the constellations by the
toss of her mane (DM: 20) . And, Narasimhi, filling all the quarters and the sky with her roars, roamed
about in the battle, devouring other great asuras torn by her claws (DM: 37).
52.4. Narasimhi is sometimes identified with Pratyangira who is endowed with four arms and a face as
terrible as that of a lion. Her head is that of a male lion and her body is that of a human-female. Her hair
stands erect on her head. In her hands she holds a skull, trident, Damaru and the noose (nagapasa).
She is seated on a lion and by her power destroys all enemies.

52.5. In Tantric worship, Pratyangira is shown with a dark complexion, ferocious in aspect, having a
lion’s face with reddened eyes and riding a lion wearing black garments, she wears a garland of human
skulls; her hair strands on end, and she holds a trident, a serpent in the form of a noose, a hand-drum
and a skull in her four hands. She is also associated with Bhairava, as Atharvana-Bhadra-Kali.
Sri Pratyangira Devi is also associated with Sri Chakra. She protects the devotees and guides him/her
along the right path.
52.6. The Shaiva School suggests that Pratyangira sprung from the wings of Lord Sharabesha, the bird-
lion-human form that Shiva assumed to pacify (subdue) the ferocious Narasimha.

[According to Kalikagama, the body of Sharabha should be that of a bird of golden hue, having two red
eyes; and it should have two up-lifted wings and eight limbs. Sharabha, which is said to be mightier
than an elephant, should have the fierce face of a lion grinning widely, having tusks and wearing kirita
makuta. The torso of Sharabha resembles that of human male having four hands .The lower part of its
body should resemble that of a lion having four legs, sharp claws and a tail. Sharabha should be
shown carrying the figure of Narasimha in his human form with upraised folded hands, anjali mudra. ]

Mahalakshmi

53.1. Mahalakshmi is counted as the eighth Matrika in the Asta-matrika tradition followed in the Nepal
region. Mahalakshmi, as Matrka, is not derived from Devi Mahatmya, although she is described as
“Universal Mother’ in other contexts. As Matrka, Mahalakshmi is regarded as an aspect of Durga; not
as Lakshmi the consort of Vishnu. Mahalakshmi here represents her subtle aspect as Mind, specially
her Sovereignty.
53.2. In the Shaktha tradition, Mahalakshmi is an independent Supreme Divinity manifesting herself as
Maha-Sarasvathi (Sattva), Mahalakshmi (Rajas) and as Maha-Kali (Tamas).

Devi Mahatmya explains Mahalakshmi as Devi in her universal form as Shakthi. She is the primordial
energy and was the first to appear before everything (sarva-sadhya); she is both devoid of form
(nirakara) and filled with forms (sakara); she is both manifest and un-manifest; She is the essence of
all things (sarva sattva mayi). She creates and governs all existence (Isvari), and is known by various
names (nana-abhidana-brut). She is the ultimate goal of yoga. Mahalakshmi is the creator of the
Trinity: Brahma, Vishnu and Rudra.

53.3. Mahalakshmi is the presiding Goddess of the Middle episode (Chapters 2-4) of Devi Mahatmya. In
her manifestation as Mahalakshmi, the Devi destroys the demon Mahishasura. The Goddess fought the
demon for nine days starting from prathipath (the first day of the brighter half) of the month
of Ashvayuja; and killed the demon on the tenth day Vijaya-Dashami ending his reign of evil and terror.
Her victory symbolizes the victory of good over evil.
53.4. Mahalakshmi described as having been created by the effulgence of all the gods is depicted
as Ashtadasha Bhuja Mahalakshmi, with eighteen arms.

Skanda Purana (Sahyadri khanda) describes Mahalakshmi as: “She who springs from the body of all
gods has a thousand or indeed countless arms, although her image is shown with eighteen hands. Her
face is white made from the light streaming from the face of Shiva. Her arms are made of substance of
Vishnu are deep blue; her round breasts made of Soma are white. Her waist is Indra and is red. Her feet
sprung from Brahma are also red; while her calves’ and thigh sprung from Varuna are blue. She wears
a gaily coloured lower garment, brilliant garlands and a veil. In her eighteen arms, starting from the
lower left, she holds in her hands : a rosary, a lotus, an arrow, a sword, a hatchet, a club, a discus, an
ax, a trident, a conch, a bell, , a noose, a sphere, a stick, a hide, a bow, a chalice and a water pot.”
The Chandi Kalpa adds that Mahalakshmi should be seated upon a lotus (saroja sthitha) and her
complexion must be that of coral (pravala prabha).
54.4. When she is shown with four hands, Mahalakshmi is depicted as seated on a lotus throne, holding
padma, shankha, a kalasha and a fruit (bilva or maatulunga). Her four hands signify her power to grant
the four types (chatur vidha) of human attainments (purushartha): dharma, artha, Kama and moksha.

54.5. The Shilpa text Rupa-mandana suggests Mahalakshmi with four arms (chatur-bhuja) should be
depicted in the colour of molten-gold (taptha-kanchana-sannibha) and decorated with golden
ornaments (kanchana bhushana). She is also described as having complexion of coral; and seated on a
lotus. Her four hands carry matulunga fruit, mace, shield and bowl of liquor. Her head must be adorned
with snake-hood and a linga.

[Note: 1.
The head-gears mentioned for the Matrkas are commonly the Kirita -makuta, Karanda-makuta and Jata-
makuta. Mansara, the ancient text of Shilpa shastra, classifies these types of head-gears under the
term makuta or mouli (Mansara: Mauli-lakshanam: 49; 1-232). For all makuta-s, the width commencing
from the bottom should be gradually made lesser and lesser towards the top.

Among these, the Kirita-makuta is an elaborate crown that adorns major gods such as Vishnu and his
forms (Narayana) and also emperors (Sarvabhouma).It has the appearance of Taranga-s (waves) and its
middle is made into the shape of flowers and adorned with precious stones. The base of the Kirita-
makuta should be curved like a crescent (ardha-chandra) just above the forehead. The height of
the Kirita-makuta should be two or three times the length of the wearer’s face.
The Karanda-makuta is prescribed for lesser gods and for goddesses when depicted along with their
spouse. It is simpler and shallower as compared to Kirita-makuta. The Karanda-makuta is a small
conical cornet receding in tier. It is shaped like an inverted flowerpot, tapering from the bottom
upwards and ending in a bud. The width of a Karanda-makuta at the top should, however, be only one-
half or one-third less than that at its base.
The jata- makuta is suitable according to Mansara for Brahma and Rudra, as also for consorts of
Shiva. Jata-makuta, is made up of jata or matted locks, which are twisted into encircling braids of spiral
curls and tied into a knot looped at the top. It is held in place by a patta (band); and is adorned with
forest flowers and by a number of ornamental discs like the makara-kuta, patra-kuta, and the ratna-
kuta. In the case of Shiva, the jata-makuta is adorned with a crescent of the moon, a cobra and the
Ganga.
In the case of Matrkas: Vaishnavi and Aindri are adorned with kirita-makuta; Brahmi, Varahi and
Kaumari with karanda-makuta; while Maheshwari and Chamunda are adorned with jata-makuta.
***

Note: 2.
Among the ayudhas carried by the Matrka deities the following are commonly mentioned:
Khadga (Sword) ; Trishula (Trident) ; (Chakra Thunder – disc) Gada or Khitaka (Mace) ; Dhanush (Bow)
; Bana (Arrow ); Javelin (Bharji) ; Parashu (Battle- Axe) ; Musula (pestle) ;
Danda (staff);khatvanga (skull-mace), khetaka or Sipar (shield); Ankusha (Goad)
; Sutra or Pasha(Noose or lasso); Damaru (drum); Panapatra (drinking cup); Ghanta (Bell)
; Akshamala (rosary) ; Pustaka (book) ; kamandalu (water pot) ; and Vanamala (garland of forest-
flowers ). ]