Durga is the form of mother goddess in Shaktism. She is also called Renu which means "wife of lord Shiva mother of universe". There are many incarnations of Durga in Shaktism and nine appellations: Skandamata, Kushmanda, Shailaputri, Kaalratri, Brahmacharini, Katyayani, Chandraghanta and Siddhidatri. A list of 108 names that are used to describe her is very popularly in use by eastern Hindus and is called "Ashtottara Shatanamavali of Goddess Durga".

Parvati (Devanagari: पार्वती, IAST: Pārvatī) is the Hindu goddess of love, fertility and devotion. She is the goddess of divine strength and power. She is the gentle and nurturing aspect of the Hindu goddess Shakti. She is the mother goddess in Hinduism and has many attributes and aspects. Each of her aspects is expressed with a different name, giving her over 100 names in regional Hindu mythologies of India. Along with Lakshmi (goddess of wealth and prosperity) and Saraswati (goddess of knowledge and learning), she forms the trinity of Hindu goddesses.

 

Parvati is the wife of the Hindu deity Shiva - the destroyer, recycler and regenerator of universe and all life. She is the daughter of the mountain king Himavan and mother Mena. Parvati is the mother of Hindu deities Ganesha and Karttikeya. She is also the mother of Ashokasundari, whose husband was Nahusha Her elder sister is the goddess Ganges. Some communities also believe her to be the adopted sister of Vishnu.

 

With Śiva, Pārvatī is a central deity in the Saivism sect of Hinduism. In Hindu belief, she is the recreative energy and power of Śiva, and she is the cause of a bond that connects all beings and a means of their spiritual release. In Hindu temples dedicated to her and Śiva, she is symbolically represented as argha or yoni. She is found extensively in ancient Indian literature, and her statues and iconography grace ancient and medieval era Hindu temples all over South Asia and Southeast Asia.

 

ETYMOLOGY AND NOMENCLATURE

Parvata is one of the Sanskrit words for "mountain"; "Parvati" derives her name from being the daughter of king Himavan (also called Himavat, Parvat) and mother Mena. King Parvat is considered lord of the mountains and the personification of the Himalayas; Parvati implies "she of the mountain".

 

Parvati is known by many names in Hindu literature. Other names which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains).

 

The Lalita sahasranama contains a listing of 1,000 names of Parvati (as Lalita). Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's first wife, who is reborn as Parvati) in earlier texts,[which?] but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). She is also Ambika ('dear mother'), Shakti (power), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), and many hundreds of others. Parvati is also the goddess of love and devotion, or Kamakshi; the goddess of fertility, abundance and food/nourishment, or Annapurna.

 

The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama, has been explained by the following legend: Once, Shiva rebuked Parvati about her dark complexion. An angry Parvati left him and underwent severe austerities to become fair-complexioned as a boon from Brahma. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and of fertility.

 

Parvati is sometimes spelled as Parvathy or Parvaty

 

HISTORY

Some scholars hold that Parvati does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. Sayana's commentary in Anuvaka, however, identifies Parvati in Talavakara Upanishad, suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of the world.

 

She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains. While the word Umā appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Haṃsa Upanishad (Yoga / Shukla Yajurveda).

 

Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra and Agni. In other words, the symbolism, legends and characteristics of Parvati evolved over time fusing Uma, Haimavati, Ambika in one aspect and the more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.

 

LEGENDS

The Puranas tell the tale of Sati's marriage to Shiva against her father Daksha's wishes. Her father Daksha and her husband Shiva do not get along, and ignore the wishes of Sati. The conflict gets to a point where Daksha does not invite Shiva to a major fire ceremony, and Shiva does not come on his own, humiliating Sati. She self-immolates herself at Daksha's yajna ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the second daughter of Himavat and Minavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat.

 

According to different versions of her myths, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. She approaches the god Kama - the Hindu god of desire, erotic love, attraction and affection, and asks him to help her. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, yogin and tapas. This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems. Parvati refuses to listen and insists in her resolve. Shiva finally accepts her and they get married. Shiva dedicates the following hymn in Parvati's honor,

 

I am the sea and you the wave,

You are Prakṛti, and I Purusha.

– Translated by Stella Kramrisch

 

After the marriage, Parvati moves to Mount Kailash, the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) - the leader of celestial armies, and Ganesha - the god of wisdom that prevents problems and removes obstacles.

 

ALTERNATE STORIES

There are many alternate Hindu legends about the birth of Parvati and how she got married with Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Shakti. Pleased, Adi Shakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. In another version of Shiva Purana, Chapters 17 through 52, cupid Kama is not involved, and instead Shiva appears as a badly behaved, snake wearing, dancing, disheveled beggar who Parvati gets attracted to, but who her parents disapprove of. The stories go through many ups and downs, until Parvati and Shiva are finally married.

 

Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes the story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.

 

ICONOGRAPHY AND SYMBOLISM

Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful and benevolent. She typically wears a red dress (often a sari), and may have a head-band. When depicted alongside Shiva, she generally appears with two arms, but when alone, she may be depicted having four. These hands may hold a conch, crown, mirror, rosary, bell, dish, farming tool such as goad, sugarcane stalk, or flowers such as lotus. One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha, is on her knee, while her elder son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow - a source of food. Bronze has been the chief metal for her sculpture, while stone is next most common material.

 

A common symbolism for her and her husband Siva is in the form of yoni and linga respectively. In ancient literature, yoni means womb and place of gestation, the yoni-linga metaphor represents "origin, source or regenerative power". The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga, it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some temples and arts, the iconographic representation of sexuality, fertility and energies of Parvati and Shiva, is more explicit, where they are shown in various stages of their sexual form and union.

 

In some iconography Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing the antelope, the symbolism for nature and the elusive, Tarjani by the left hand — representing gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence. Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from devotee.

 

If Parvati is depicted with two hands, Kataka mudra — also called Katyavalambita or Katisamsthita hasta — is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish fulfilling". In Indian dance, Parvatimudra is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas, denoting most important deities described in Abhinaya Darpana. The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati. Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati.

 

Parvati is sometimes shown with golden or yellow colour skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests.

 

In some manifestations, particularly as angry, ferocious aspects of Shakti such as Durga or Kali, she has eight or ten arms, and is astride on a tiger or lion. In benevolent manifestation such as Kamakshi or Meenakshi, a parrot sits near her right shoulder symbolizing cheerful love talk, seeds and fertility. A parrot is found with Parvati's form as Kamakshi - the goddess of love, as well as Kama - the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with the parrot began when she won a bet with her husband and asked for his loin cloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi).

 

SYMBOLISM OF MANY ASPECTS FOR THE SAME GODDESS

Parvati is expressed in many roles, moods, epithets and aspects. In Hindu mythology, she is an active agent of the universe, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapt to needs of circumstances in her role as the universal mother. She identifies and destroys evil to protect (Durga), as well as creates food and abundance to nourish (Annapurna).

 

MANIFESTATIONS AND ASPECTS OF PARVATI

Several myths present alternate aspects of Parvati, such as the ferocious, violent aspect as Shakti and related forms. Shakti is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali or Kali (time). In Linga Purana, Parvati metamorphoses into Kali, on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. To lower Kali's rage, Shiva appeared as a crying baby. The cries of the baby raised the maternal instinct of Kali who resorts back to her benign form as Parvati.

 

In Skanda Purana, Parvati assumes the form of a warrior-goddess and defeats a demon called Durg who assumes the form of a buffalo. In this aspect, she is known by the name Durga. Although Parvati is considered another aspect of Sakti, just like Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or aspects originated from regional legends and traditions, and the distinctions from Parvati are pertinent.

 

In Devi Bhagwata Purana, Parvati is the lineal progenitor of all other goddesses. She is the one who is the source of all forms of goddesses. She is worshiped as one with many forms and names. Her different moods bring different forms or incarnation. For example,

 

- Durga is a demon-fighting form of Parvati, and some texts suggest Parvati took the form of Durga to kill the demon Durgamasur.

- Kali is another ferocious form of Parvati, as goddess of time and change, with mythological origins in the deity Nirriti.

- Chandi is the epithet of Durga, considered to be the power of Parvati; she is black in color and rides on a lion, slayer of the demon Mahishasura.

- Ten Mahavidyas are the ten aspects of Shakti. In tantra, all have importance and all are different aspects of Parvati.

- 52 Shakti Peethas suggests all goddesses are expansions of the goddess Parvati.

- Navadurga nine forms of the goddess Parvati

- Meenakshi, goddess with eyes shaped like a fish.

- Kamakshi, goddess of love and devotion.

- Lalita, the playful Goddess of the Universe, she is a form of the Devi Parvati.

- Akhilandeshwari, found in coastal regions of India, is the goddess associated with water.

- Annapurna is the representation of all that is complete and of food.

 

STORY OF THE ATTAINMENT OF THE NAME DURG

A demon named Durgasur has undertook severe austerities to please Lord Brahma. Being pleased with his penances, as his blessing, he cannot be killed by any man, demon, God or male deity. He gathered his large demonic forces and declared war against the Gods. Durgasur and Indra's forces engage in a severe war. In the end, Durgasur defeats Indra and he, with the help of his fellow demons take over the three worlds, and the heavens. Durgasur, full of pride and arrogance started tormenting and torturing innocent common people like villagers, wrecking down the religious schools and students and teachers, molesting other sages' wives and wreaking atrocities on the sages also. All the Gods, sages, their wives, the common people, teachers and students, united all together went to Kailash to seek the refuge of Lord Shiva but he was not there. They turned to his wife, Goddess Parvati, the full form of the Adi Parashakti and requested her to kill Durgasur and put an end to his every bad deed and atrocity. Parvati, hearing the atrocities of Durgasur, felt compassionate for them and she promised to stop Durgasur. She invokes Kaalratri, in the form of a damsel and requested her to go to Durgasur and ordered him to stop his atrocities on vulnerable people and Gods. Kaalratri went to Durgasur's territory and she requested him to cease his every atrocity on the Gods and common people and to hand over their respective abodes by going back to where he came from or get slayed at the hands of Parvati. Hearing this, Durgasur becomes very annoyed and he refuses to stop his atrocities on the world and ordered his demons to catch hold of the female messenger. Kaalratri turns furious and so she grew massive in her original form. She tells him to make preparations for his death. Durgasur becomes angry and commands his army to attack Kailash. Kaalratri returns to Parvati and conveyed the complete message to her. Parvati, on hearing this, she tells Durgasur that his last wish is to fight and his wish would be fulfilled by her. Parvati infuses Kaalratri in her body. Then, she, along with the Gods and common people approach the battlefield, waiting for Durgasur. Parvati creates a luminous circle around them as their own safety shield. Durgasur and his corps reach the battleground. Seeing them, Parvati sprouted a thousand hands holding all types of weapons. Seeing this thousand-armed form of Parvati, the Gods and common people express their gratitude awhile Durgasur and his army corps are terrified. At her call, all her Shaktis, of female forms, having a number of arms, weapons, wearing different garments, ornaments and apparels, riding on all kinds of animal vehicles, some of them were fierce and some of them were beneficial, they were of different names and incarnations and/or forms of Adi Parashakti. The war began. The fierce forms of Parvati managed to destroy the entire demon army of Durgasur. A severe duel erupted between Parvati and Durgasur. In the end, Parvati kills Durgasur with her trident. Seeing this end or Durgasur, the Gods and common people's joy knew no bounds and started worshipping her. She was instantly pleased. The Gods gave Parvati the name Durga as she killed demon Durgasur. Parvati restored all the worlds and abodes of the Gods and common people and the worlds were at peace again.

 

LEGENDS

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.

 

Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the later represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is householder's life - both feature as Ashramas of an ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen about the nurturing worldly life and society. Numerous chapters, stories and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life.

 

Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.

 

Three images are central to the mythology, iconography and philosophy of Parvati: the image of Shiva-Shakti, the image of Shiva as Ardhanarishvara (the Lord who is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.

 

The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.

 

Shaiva approaches tend to look upon Parvati as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out, manifests in the form of ten terrifying goddesses who block Shiva's every exit.

 

David Kinsley states,

 

The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.

 

ARDHANARISVARA

Parvati is portrayed as the ideal wife, mother and householder in Indian legends. In Indian art, this vision of ideal couple is derived from Shiva and Parvati as being half of the other, represented as Ardhanarisvara. This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati respectively.

 

IDEAL WIFE, MOTHER AND MORE

In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows - being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband is her friend, refuge, and god. She finds happiness in physical, emotional nourishment and development of her husband and her children. Their happiness is her happiness. She is positive and cheerful even when her husband or her children are angry, she's with them in adversity or sickness. She takes interest in worldly affairs, beyond her husband and family. She is cheerful and humble before family, friends, and relatives; helps them if she can. She welcomes guests, feeds them and encourages righteous social life. Her family life and her home is her heaven, Parvati declares in Book 13 of the Mahabharata.

 

Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in mythology of India. Parvati, along with other goddesses, are involved with the broad range of culturally valued goals and activities. Her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects, states Gross, reflects the Hindu belief that the feminine has universal range of activities, and her gender is not a limiting condition.

 

GANESHA

Hindu literature, including the Matsya Purana, Shiva Purana, and Skanda Purana, dedicates many stories to Parvati and Shiva and their children. For example, one about Ganesha is:

 

Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated, lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She demanded that Shiva restore Ganesha's life at once. Shiva did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant headed deity.

 

PARVATI IN CULTURE

FESTIVALS

Teej is a significant festival for Hindu women, particularly in northern and western states of India. Parvati is the primary deity of the festival, and it ritually celebrates married life and family ties.[68] It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in green dress (seasonal color of crop planting season), while singing regional songs. Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for the well-being of their husbands and visited their relatives. In Nepal, Teej is a three-day festival marked with visits to Shiva-Parvati temples and offerings to linga. Teej is celebrated as Teeyan in Punjab.

 

The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada (Shukla paksha). Parvati is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.

 

In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.

 

Another popular festival in reverence of Parvati is Navratri, in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India such as Gujarat, this is associated with Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kushmanda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.

 

Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh, the Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family.

 

ARTS

From sculpture to dance, many Indian arts explore and express the stories of Parvati and Shiva as themes. For example, Daksha Yagam of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva.

 

The Gauri-Shankar bead is a part of religious adornment rooted in the belief of Parvati and Shiva as the ideal equal complementing halves of the other. Gauri-Shankar is a particular rudraksha (bead) formed naturally from the seed of a tree found in India. Two seeds of this tree sometimes naturally grow as fused, and considered to symbolic of Parvati and Shiva. These seeds are strung into garlands and worn, or used in malas (rosaries) for meditation in Saivism.

 

NUMISMATICS

Ancient coins from Bactria (Central Asia) of Kushan Empire era, and those of king Harsha (North India) feature Uma. These were issued sometime between 3rd- and 7th-century AD. In Bactria, Uma is spelled Ommo, and she appears on coins holding a flower. On her coin is also shown Shiva, who is sometimes shown in ithyphallic state holding a trident and standing near Nandi (his vahana). On coins issued by king Harsha, Parvati and Shiva are seated on a bull, and the reverse of the coin has Brahmi script.

 

MAJOR TEMPLES

Parvati is often present with Shiva in Saivite Hindu temples all over South Asia and southeast Asia.

 

Some locations (Pithas or Shaktipeeths) are considered special because of their historical importance and legends about their origins in the ancient texts of Hinduism. Other locations celebrate major events in Parvati's life. For example, the World Heritage Site at Khajuraho is one such site where Parvati temple is found. It is one of the four major sites associated with Parvati, along with Kedarnath, Kashi and Gaya. The temple’s origin in Khajuraho has been traced to the Hindu mythology in which Khajuraho is the place where Parvati and Shiva got married.

 

One interpretation of the (Khajuraho) temples is that they were built to celebrate the mythic marriage of Shiva and his consort. At Maha-shivratri in Khajuraho, they celebrate the marriage of Shiva and Parvati. (...) The erotic sculptures are a metaphor of the union of Shiva and Parvati, the marriage of two cosmic forces, of light and darkness, sky and earth, spirit and matter.

 

Each major Parvati-Shiva temple is a pilgrimage site that has an ancient legend associated with it, which is typically a part of a larger story that links these Hindu temples across South Asia with each other.

 

Some temples where Parvati can be found include Annapurneshwari temple, Attukal Bhagavathy temple, Chengannur Mahadeva temple, Oorpazhachi Kavu, Valiya Kavu Sree Parvathi Devi temple, Sri Kiratha Parvathi Temple Paramelpadi, Korechal Kirathaparvathi temple, Sree Bhavaneeswara Temple Palluruthy, Irumkulangara Durga Devi Temple, Chakkulathukavu Temple, Nedukavu Parvathy Devi temple, Karthyayani Devi temple, Varanad Devi Temple, Veluthattu Vadakkan Chowa temple, Thiruvairanikulam Mahadeva temple, Ardhanariswara temple and Kadampuzha Devi Temple in Kerala, Meenakshi Amman Temple in Tamil Nadu, Kamakshi Amman Temple in Tamil Nadu, Sri Siva Durga Temple , Mandaikadu Bhagavathi Temple and Devi Kanya Kumari in Tamil Nadu, Mookambika Devi Temple and Banashankari Temple in Karnataka, Maanikyambika Bhimeswara temple in Andhra pradesh, Vishalakshi Temple, Vishalakshi Gauri temple and Annapurna devi temple in Uttar Pradesh, Parvati Temple in Madhya Pradesh, Tulja Bhavani Temple in Maharashtra, Nartiang Durga Temple in Meghalaya, Tripura Sundari Temple in Tripura.

 

OUTSIDE INDIA

Sculpture and iconography of Parvati, in one of her many manifestations, have been found in temples and literature of southeast Asia. For example, early Saivite inscriptions of the Khmer in Cambodia, dated as early as the fifth century AD, mention Parvati (Uma) and Siva. Many ancient and medieval era Cambodian temples, rock arts and river bed carvings such as the Kbal Spean are dedicated to Parvati and Shiva.

 

Boisselier has identified Uma in a Champa era temple in Vietnam.

 

Dozens of ancient temples dedicated to Parvati as Uma, with Siva, have been found in the islands of Indonesia and Malaysia. Her manifestation as Durga has also been found in southeast Asia.[86] Many of the temples in Java dedicated to Siva-Parvati are from second half of 1st millennium AD, and some from later centuries. Durga icons and worship have been dated to be from the 10th- to 13th-century.

 

In Nakhorn Si Thammarat province of Thailand, excavations at Dev Sathan has yielded a Hindu Temple dedicated to Vishnu (Na Pra Narai), a lingam in yoni, a Shiva temple (San Pra Isuan). The sculpture of Parvati found at this excavation site reflect the South Indian style.Bali, IndonesiaParvati, locally spelled as Parwati, is a principal goddess in modern day Hinduism of Bali. She is more often called Uma, and sometimes referred to as Giriputri (daughter of the mountains). She is the goddess of mountain Gunung Agung. Like Hinduism of India, Uma has many manifestations in Bali, Indonesia. She is the wife of deity Siwa. Uma or Parwati is considered as the mother goddess that nurtures, nourishes, grants fertility to crop and all life. As Dewi Danu, she presides over waters, lake Batur and Gunung Batur, a major volcano in Bali. Unlike India where Sri refers to Lakshmi, Sri is another name of Uma in Bali; her icons and pillar temples grace terraced rice fields (sawahs). Parwati's small pillar temples in rice fields is to seek her blessings of abundance and a good crop. Her ferocious form in Bali is Dewi Durga. As Rangda, she is wrathful and presides cemeteries. As Ibu Petri, Parwati of Balinese Hinduism is the goddess of earth. The legends about various manifestations of Parwati, and how she changes from one form to another, are in Balinese literature, such as the palm-leaf (lontar) manuscript Andabhuana.

 

RELATED GODDESS

BUDDHISM

Tara found in some sects of Buddhism, particularly Tibetan and Nepalese, is related to Parvati. Tara too appears in many manifestations. In tantric sects of Buddhism, as well as Hinduism, intricate symmetrical art forms of yantra or mandala are dedicated to different aspects of Tara and Parvati.

 

ANCIENT CIVILIZATIONS

Parvati is closely related in symbolism and powers as Cybele of Greek and Roman mythology and as Vesta the guardian goddess of children. In her manifestation as Durga, Parvati parallels Mater Montana. She is the equivalent of Magna Mater (Universal Mother). As Kali and punisher of all evil, she corresponds to Proserpine and Diana Taurica.

 

As Bhawani and goddess of fertility and birthing, she is the symbolic equivalent of Ephesian Diana. In Crete, Rhea is the mythological figure, goddess of the mountains, paralleling Parvati; while in some mythologies from islands of Greece, the terrifying goddess mirroring Parvati is Diktynna (also called Britomartis). At Ephesus, Cybele is shown with lions, just like iconography of Parvati is sometimes shown with a lion.

 

Carl Jung, in Mysterium Coniunctionis, states that aspects of Parvati belong to the same category of black goddesses as Artemis, Isis and Mary. Edmund Leach equates Parvati in her relationship with Shiva, with that of Greek goddess Aphrodite - a symbol of sexual love.

 

108 NAMES OF PARVATI

Parvati is known by 108 different names. Following are the name along with it meaning.

 

Aadya: The meaning of this name is initial reality.

Aarya: It is the name of the Goddess

Abhavya: Signifies fear

Aeindri: The power of Lord Indra.

Agnijwala: Signifies fire

Ahankaara: Indicates pride.

Ameyaa: The name signifies beyond measure.

Ananta: Signifies one who is infinite.

Ananta: The Infinite

Anekashastrahasta: It means the possessor of many hand weapons

AnekastraDhaarini: It means the possessor of many weapons

Anekavarna: Person with multiple complexions.

Aparna: Signifies a person who does not eat anything during fasting

Apraudha: Signifies a person who does not age

Bahula: Various forms

Bahulaprema: Loved by everyone

Balaprada: Signifies the giver of strength

Bhaavini: The Beautiful Woman

Bhavya: Future

Bhadrakaali: One of the forms of Goddess Kali

Bhavani: The abode of the universe

Bhavamochani: The absolver of the universe

Bhavaprita: Loved by everyone in the universe

Bhavya: Indicates magnificence

Braahmi: God Brahma’s power

Brahmavaadini: Present everywhere

Buddhi: Intelligence

Buddhida: The bestower of wisdom

Chamunda: Name of Goddess who killed the demons Chanda and Munda

Chandaghanta: Mighty bells

ChandaMundaVinashini: Goddess who killed asuras Chanda and Munda

Chinta: Tension

Chita: Death-bed

Chiti: The thinking mind

Chitra: The Picturesque

Chittarupa: Thinking or thoughtful state.

Dakshakanya: It is the name of daughter of Daksha

Dakshayajnavinaashini: Interrupter of the sacrifice of Daksha

Devamata: Mother Goddess

Durga: The Invincible

Ekakanya: The girl child

Ghorarupa: Fierce outlook

Gyaana: Knowledge

Jalodari: Abode of the ethereal universe

Jaya: The Victorious

Kaalaratri: Goddess who is black and is similar to the night.

Kaishori: The adolescent

Kalamanjiiraranjini: Musical anklet

Karaali: Violent

Katyayani: Sage Katyanan worships this name

Kaumaari: Adolescent

Komaari: Beautiful adolescent

Kriya: Action

Krrooraa: Brutal

Lakshmi: Goddess of Wealth

Maaheshvari: Power of Lord Shiva

Maatangi: Goddess of Matanga

MadhuKaitabhaHantri: Goddess that killed the demons Madhu and Kaitabha

Mahaabala: Strength

Mahatapa: Penance

Mahodari: Keeping the universe in a huge belly

Manah: Mind

Matangamunipujita: Worshipped by Sage Matanga

Muktakesha: Open tresses

Narayani: Lord Narayana destructive attributes

NishumbhaShumbhaHanani: Goddess who killed brothers Shumbha Nishumbha

Mahishasura Mardini: Goddess who killed demon Mahishasura

Nitya: Eternal one

Paatala: The color red

Paatalavati: Wearing the color red and white

Parameshvari: Ultimate Goddess

Pattaambaraparidhaana: Dress made of leather

Pinaakadharini: Trident of Shiva

Pratyaksha: Real

Praudha: Old

Purushaakriti: Taking the form of a man

Ratnapriya: Adorned

Raudramukhi: Fierce face like destroyer Rudra

Saadhvi: Sanguine

Sadagati: Bestowing Moksha

Sarvaastradhaarini: Possessor of missile weapons

Sarvadaanavaghaatini: Ability to kill all the demons

Sarvamantramayi: Instruments of thought

Sarvashaastramayi: Deft in all theories

Sarvavahanavahana: Rides all vehicles

Sarvavidya: Knowledgeable

Sati: Women who burned on the pyre of her husband

Satta: Above all

Satya: Truth

Satyanandasvarupini: Eternal bliss

Savitri: Daughter of the Sun God Savitr

Shaambhavi: Consort of Shambhu

Shivadooti: Ambassador of Lord Shiva

Shooldharini: Person who holds a monodent

Sundari: Gorgeous

Sursundari: Very Beautiful

Tapasvini: Engaged in penance

Trinetra: Person with three eyes.

Vaarahi: Person who rides on Varaah

Vaishnavi: Invincible

Vandurga: Goddess of forests

Vikrama: Violent

Vimalauttkarshini: Providing joy

Vishnumaya: The spells of Lord Vishnu

Vriddhamaata: Mother who is old

Yati: Person one who renounces the world

Yuvati: Woman

 

WIKIPEDIA

Maa (Mother) Durga puja in Kolkata 2016.

 

Durga is the form of Mother goddess in Shaktism. There are many incarnations of Goddess Durga: Kali, Renuka (or Renu), Bhagvati, Bhavani, Ambika, Lalita, Kandalini, Jaya, Rajeswari and has nine appellations: Skandamata, Kushmanda, Shailaputri, Kaalratri, Brahmacharini, Katyayani, Chandraghanta and Siddhidatri. A list of 108 names that is used to describe her is very popularly in use by eastern Hindus and is called Ashtottara Shatanamavali of Goddess Durga.

 

Source: en.wikipedia.org/wiki/Durga

Parvati (Devanagari: पार्वती, IAST: Pārvatī) is the Hindu goddess of love, fertility and devotion. She is the goddess of divine strength and power. She is the gentle and nurturing aspect of the Hindu goddess Shakti. She is the mother goddess in Hinduism and has many attributes and aspects. Each of her aspects is expressed with a different name, giving her over 100 names in regional Hindu mythologies of India. Along with Lakshmi (goddess of wealth and prosperity) and Saraswati (goddess of knowledge and learning), she forms the trinity of Hindu goddesses.

 

Parvati is the wife of the Hindu deity Shiva - the destroyer, recycler and regenerator of universe and all life. She is the daughter of the mountain king Himavan and mother Mena. Parvati is the mother of Hindu deities Ganesha and Karttikeya. She is also the mother of Ashokasundari, whose husband was Nahusha Her elder sister is the goddess Ganges. Some communities also believe her to be the adopted sister of Vishnu.

 

With Śiva, Pārvatī is a central deity in the Saivism sect of Hinduism. In Hindu belief, she is the recreative energy and power of Śiva, and she is the cause of a bond that connects all beings and a means of their spiritual release. In Hindu temples dedicated to her and Śiva, she is symbolically represented as argha or yoni. She is found extensively in ancient Indian literature, and her statues and iconography grace ancient and medieval era Hindu temples all over South Asia and Southeast Asia.

 

ETYMOLOGY AND NOMENCLATURE

Parvata is one of the Sanskrit words for "mountain"; "Parvati" derives her name from being the daughter of king Himavan (also called Himavat, Parvat) and mother Mena. King Parvat is considered lord of the mountains and the personification of the Himalayas; Parvati implies "she of the mountain".

 

Parvati is known by many names in Hindu literature. Other names which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains).

 

The Lalita sahasranama contains a listing of 1,000 names of Parvati (as Lalita). Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's first wife, who is reborn as Parvati) in earlier texts,[which?] but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). She is also Ambika ('dear mother'), Shakti (power), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), and many hundreds of others. Parvati is also the goddess of love and devotion, or Kamakshi; the goddess of fertility, abundance and food/nourishment, or Annapurna.

 

The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama, has been explained by the following legend: Once, Shiva rebuked Parvati about her dark complexion. An angry Parvati left him and underwent severe austerities to become fair-complexioned as a boon from Brahma. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and of fertility.

 

Parvati is sometimes spelled as Parvathy or Parvaty

 

HISTORY

Some scholars hold that Parvati does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. Sayana's commentary in Anuvaka, however, identifies Parvati in Talavakara Upanishad, suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of the world.

 

She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains. While the word Umā appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Haṃsa Upanishad (Yoga / Shukla Yajurveda).

 

Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra and Agni. In other words, the symbolism, legends and characteristics of Parvati evolved over time fusing Uma, Haimavati, Ambika in one aspect and the more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.

 

LEGENDS

The Puranas tell the tale of Sati's marriage to Shiva against her father Daksha's wishes. Her father Daksha and her husband Shiva do not get along, and ignore the wishes of Sati. The conflict gets to a point where Daksha does not invite Shiva to a major fire ceremony, and Shiva does not come on his own, humiliating Sati. She self-immolates herself at Daksha's yajna ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the second daughter of Himavat and Minavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat.

 

According to different versions of her myths, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. She approaches the god Kama - the Hindu god of desire, erotic love, attraction and affection, and asks him to help her. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, yogin and tapas. This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems. Parvati refuses to listen and insists in her resolve. Shiva finally accepts her and they get married. Shiva dedicates the following hymn in Parvati's honor,

 

I am the sea and you the wave,

You are Prakṛti, and I Purusha.

– Translated by Stella Kramrisch

 

After the marriage, Parvati moves to Mount Kailash, the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) - the leader of celestial armies, and Ganesha - the god of wisdom that prevents problems and removes obstacles.

 

ALTERNATE STORIES

There are many alternate Hindu legends about the birth of Parvati and how she got married with Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Shakti. Pleased, Adi Shakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. In another version of Shiva Purana, Chapters 17 through 52, cupid Kama is not involved, and instead Shiva appears as a badly behaved, snake wearing, dancing, disheveled beggar who Parvati gets attracted to, but who her parents disapprove of. The stories go through many ups and downs, until Parvati and Shiva are finally married.

 

Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes the story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.

 

ICONOGRAPHY AND SYMBOLISM

Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful and benevolent. She typically wears a red dress (often a sari), and may have a head-band. When depicted alongside Shiva, she generally appears with two arms, but when alone, she may be depicted having four. These hands may hold a conch, crown, mirror, rosary, bell, dish, farming tool such as goad, sugarcane stalk, or flowers such as lotus. One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha, is on her knee, while her elder son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow - a source of food. Bronze has been the chief metal for her sculpture, while stone is next most common material.

 

A common symbolism for her and her husband Siva is in the form of yoni and linga respectively. In ancient literature, yoni means womb and place of gestation, the yoni-linga metaphor represents "origin, source or regenerative power". The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga, it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some temples and arts, the iconographic representation of sexuality, fertility and energies of Parvati and Shiva, is more explicit, where they are shown in various stages of their sexual form and union.

 

In some iconography Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing the antelope, the symbolism for nature and the elusive, Tarjani by the left hand — representing gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence. Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from devotee.

 

If Parvati is depicted with two hands, Kataka mudra — also called Katyavalambita or Katisamsthita hasta — is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish fulfilling". In Indian dance, Parvatimudra is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas, denoting most important deities described in Abhinaya Darpana. The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati. Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati.

 

Parvati is sometimes shown with golden or yellow colour skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests.

 

In some manifestations, particularly as angry, ferocious aspects of Shakti such as Durga or Kali, she has eight or ten arms, and is astride on a tiger or lion. In benevolent manifestation such as Kamakshi or Meenakshi, a parrot sits near her right shoulder symbolizing cheerful love talk, seeds and fertility. A parrot is found with Parvati's form as Kamakshi - the goddess of love, as well as Kama - the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with the parrot began when she won a bet with her husband and asked for his loin cloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi).

 

SYMBOLISM OF MANY ASPECTS FOR THE SAME GODDESS

Parvati is expressed in many roles, moods, epithets and aspects. In Hindu mythology, she is an active agent of the universe, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapt to needs of circumstances in her role as the universal mother. She identifies and destroys evil to protect (Durga), as well as creates food and abundance to nourish (Annapurna).

 

MANIFESTATIONS AND ASPECTS OF PARVATI

Several myths present alternate aspects of Parvati, such as the ferocious, violent aspect as Shakti and related forms. Shakti is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali or Kali (time). In Linga Purana, Parvati metamorphoses into Kali, on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. To lower Kali's rage, Shiva appeared as a crying baby. The cries of the baby raised the maternal instinct of Kali who resorts back to her benign form as Parvati.

 

In Skanda Purana, Parvati assumes the form of a warrior-goddess and defeats a demon called Durg who assumes the form of a buffalo. In this aspect, she is known by the name Durga. Although Parvati is considered another aspect of Sakti, just like Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or aspects originated from regional legends and traditions, and the distinctions from Parvati are pertinent.

 

In Devi Bhagwata Purana, Parvati is the lineal progenitor of all other goddesses. She is the one who is the source of all forms of goddesses. She is worshiped as one with many forms and names. Her different moods bring different forms or incarnation. For example,

 

- Durga is a demon-fighting form of Parvati, and some texts suggest Parvati took the form of Durga to kill the demon Durgamasur.

- Kali is another ferocious form of Parvati, as goddess of time and change, with mythological origins in the deity Nirriti.

- Chandi is the epithet of Durga, considered to be the power of Parvati; she is black in color and rides on a lion, slayer of the demon Mahishasura.

- Ten Mahavidyas are the ten aspects of Shakti. In tantra, all have importance and all are different aspects of Parvati.

- 52 Shakti Peethas suggests all goddesses are expansions of the goddess Parvati.

- Navadurga nine forms of the goddess Parvati

- Meenakshi, goddess with eyes shaped like a fish.

- Kamakshi, goddess of love and devotion.

- Lalita, the playful Goddess of the Universe, she is a form of the Devi Parvati.

- Akhilandeshwari, found in coastal regions of India, is the goddess associated with water.

- Annapurna is the representation of all that is complete and of food.

 

STORY OF THE ATTAINMENT OF THE NAME DURG

A demon named Durgasur has undertook severe austerities to please Lord Brahma. Being pleased with his penances, as his blessing, he cannot be killed by any man, demon, God or male deity. He gathered his large demonic forces and declared war against the Gods. Durgasur and Indra's forces engage in a severe war. In the end, Durgasur defeats Indra and he, with the help of his fellow demons take over the three worlds, and the heavens. Durgasur, full of pride and arrogance started tormenting and torturing innocent common people like villagers, wrecking down the religious schools and students and teachers, molesting other sages' wives and wreaking atrocities on the sages also. All the Gods, sages, their wives, the common people, teachers and students, united all together went to Kailash to seek the refuge of Lord Shiva but he was not there. They turned to his wife, Goddess Parvati, the full form of the Adi Parashakti and requested her to kill Durgasur and put an end to his every bad deed and atrocity. Parvati, hearing the atrocities of Durgasur, felt compassionate for them and she promised to stop Durgasur. She invokes Kaalratri, in the form of a damsel and requested her to go to Durgasur and ordered him to stop his atrocities on vulnerable people and Gods. Kaalratri went to Durgasur's territory and she requested him to cease his every atrocity on the Gods and common people and to hand over their respective abodes by going back to where he came from or get slayed at the hands of Parvati. Hearing this, Durgasur becomes very annoyed and he refuses to stop his atrocities on the world and ordered his demons to catch hold of the female messenger. Kaalratri turns furious and so she grew massive in her original form. She tells him to make preparations for his death. Durgasur becomes angry and commands his army to attack Kailash. Kaalratri returns to Parvati and conveyed the complete message to her. Parvati, on hearing this, she tells Durgasur that his last wish is to fight and his wish would be fulfilled by her. Parvati infuses Kaalratri in her body. Then, she, along with the Gods and common people approach the battlefield, waiting for Durgasur. Parvati creates a luminous circle around them as their own safety shield. Durgasur and his corps reach the battleground. Seeing them, Parvati sprouted a thousand hands holding all types of weapons. Seeing this thousand-armed form of Parvati, the Gods and common people express their gratitude awhile Durgasur and his army corps are terrified. At her call, all her Shaktis, of female forms, having a number of arms, weapons, wearing different garments, ornaments and apparels, riding on all kinds of animal vehicles, some of them were fierce and some of them were beneficial, they were of different names and incarnations and/or forms of Adi Parashakti. The war began. The fierce forms of Parvati managed to destroy the entire demon army of Durgasur. A severe duel erupted between Parvati and Durgasur. In the end, Parvati kills Durgasur with her trident. Seeing this end or Durgasur, the Gods and common people's joy knew no bounds and started worshipping her. She was instantly pleased. The Gods gave Parvati the name Durga as she killed demon Durgasur. Parvati restored all the worlds and abodes of the Gods and common people and the worlds were at peace again.

 

LEGENDS

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.

 

Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the later represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is householder's life - both feature as Ashramas of an ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen about the nurturing worldly life and society. Numerous chapters, stories and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life.

 

Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.

 

Three images are central to the mythology, iconography and philosophy of Parvati: the image of Shiva-Shakti, the image of Shiva as Ardhanarishvara (the Lord who is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.

 

The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.

 

Shaiva approaches tend to look upon Parvati as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out, manifests in the form of ten terrifying goddesses who block Shiva's every exit.

 

David Kinsley states,

 

The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.

 

ARDHANARISVARA

Parvati is portrayed as the ideal wife, mother and householder in Indian legends. In Indian art, this vision of ideal couple is derived from Shiva and Parvati as being half of the other, represented as Ardhanarisvara. This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati respectively.

 

IDEAL WIFE, MOTHER AND MORE

In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows - being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband is her friend, refuge, and god. She finds happiness in physical, emotional nourishment and development of her husband and her children. Their happiness is her happiness. She is positive and cheerful even when her husband or her children are angry, she's with them in adversity or sickness. She takes interest in worldly affairs, beyond her husband and family. She is cheerful and humble before family, friends, and relatives; helps them if she can. She welcomes guests, feeds them and encourages righteous social life. Her family life and her home is her heaven, Parvati declares in Book 13 of the Mahabharata.

 

Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in mythology of India. Parvati, along with other goddesses, are involved with the broad range of culturally valued goals and activities. Her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects, states Gross, reflects the Hindu belief that the feminine has universal range of activities, and her gender is not a limiting condition.

 

GANESHA

Hindu literature, including the Matsya Purana, Shiva Purana, and Skanda Purana, dedicates many stories to Parvati and Shiva and their children. For example, one about Ganesha is:

 

Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated, lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She demanded that Shiva restore Ganesha's life at once. Shiva did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant headed deity.

 

PARVATI IN CULTURE

FESTIVALS

Teej is a significant festival for Hindu women, particularly in northern and western states of India. Parvati is the primary deity of the festival, and it ritually celebrates married life and family ties.[68] It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in green dress (seasonal color of crop planting season), while singing regional songs. Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for the well-being of their husbands and visited their relatives. In Nepal, Teej is a three-day festival marked with visits to Shiva-Parvati temples and offerings to linga. Teej is celebrated as Teeyan in Punjab.

 

The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada (Shukla paksha). Parvati is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.

 

In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.

 

Another popular festival in reverence of Parvati is Navratri, in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India such as Gujarat, this is associated with Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kushmanda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.

 

Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh, the Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family.

 

ARTS

From sculpture to dance, many Indian arts explore and express the stories of Parvati and Shiva as themes. For example, Daksha Yagam of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva.

 

The Gauri-Shankar bead is a part of religious adornment rooted in the belief of Parvati and Shiva as the ideal equal complementing halves of the other. Gauri-Shankar is a particular rudraksha (bead) formed naturally from the seed of a tree found in India. Two seeds of this tree sometimes naturally grow as fused, and considered to symbolic of Parvati and Shiva. These seeds are strung into garlands and worn, or used in malas (rosaries) for meditation in Saivism.

 

NUMISMATICS

Ancient coins from Bactria (Central Asia) of Kushan Empire era, and those of king Harsha (North India) feature Uma. These were issued sometime between 3rd- and 7th-century AD. In Bactria, Uma is spelled Ommo, and she appears on coins holding a flower. On her coin is also shown Shiva, who is sometimes shown in ithyphallic state holding a trident and standing near Nandi (his vahana). On coins issued by king Harsha, Parvati and Shiva are seated on a bull, and the reverse of the coin has Brahmi script.

 

MAJOR TEMPLES

Parvati is often present with Shiva in Saivite Hindu temples all over South Asia and southeast Asia.

 

Some locations (Pithas or Shaktipeeths) are considered special because of their historical importance and legends about their origins in the ancient texts of Hinduism. Other locations celebrate major events in Parvati's life. For example, the World Heritage Site at Khajuraho is one such site where Parvati temple is found. It is one of the four major sites associated with Parvati, along with Kedarnath, Kashi and Gaya. The temple’s origin in Khajuraho has been traced to the Hindu mythology in which Khajuraho is the place where Parvati and Shiva got married.

 

One interpretation of the (Khajuraho) temples is that they were built to celebrate the mythic marriage of Shiva and his consort. At Maha-shivratri in Khajuraho, they celebrate the marriage of Shiva and Parvati. (...) The erotic sculptures are a metaphor of the union of Shiva and Parvati, the marriage of two cosmic forces, of light and darkness, sky and earth, spirit and matter.

 

Each major Parvati-Shiva temple is a pilgrimage site that has an ancient legend associated with it, which is typically a part of a larger story that links these Hindu temples across South Asia with each other.

 

Some temples where Parvati can be found include Annapurneshwari temple, Attukal Bhagavathy temple, Chengannur Mahadeva temple, Oorpazhachi Kavu, Valiya Kavu Sree Parvathi Devi temple, Sri Kiratha Parvathi Temple Paramelpadi, Korechal Kirathaparvathi temple, Sree Bhavaneeswara Temple Palluruthy, Irumkulangara Durga Devi Temple, Chakkulathukavu Temple, Nedukavu Parvathy Devi temple, Karthyayani Devi temple, Varanad Devi Temple, Veluthattu Vadakkan Chowa temple, Thiruvairanikulam Mahadeva temple, Ardhanariswara temple and Kadampuzha Devi Temple in Kerala, Meenakshi Amman Temple in Tamil Nadu, Kamakshi Amman Temple in Tamil Nadu, Sri Siva Durga Temple , Mandaikadu Bhagavathi Temple and Devi Kanya Kumari in Tamil Nadu, Mookambika Devi Temple and Banashankari Temple in Karnataka, Maanikyambika Bhimeswara temple in Andhra pradesh, Vishalakshi Temple, Vishalakshi Gauri temple and Annapurna devi temple in Uttar Pradesh, Parvati Temple in Madhya Pradesh, Tulja Bhavani Temple in Maharashtra, Nartiang Durga Temple in Meghalaya, Tripura Sundari Temple in Tripura.

 

OUTSIDE INDIA

Sculpture and iconography of Parvati, in one of her many manifestations, have been found in temples and literature of southeast Asia. For example, early Saivite inscriptions of the Khmer in Cambodia, dated as early as the fifth century AD, mention Parvati (Uma) and Siva. Many ancient and medieval era Cambodian temples, rock arts and river bed carvings such as the Kbal Spean are dedicated to Parvati and Shiva.

 

Boisselier has identified Uma in a Champa era temple in Vietnam.

 

Dozens of ancient temples dedicated to Parvati as Uma, with Siva, have been found in the islands of Indonesia and Malaysia. Her manifestation as Durga has also been found in southeast Asia.[86] Many of the temples in Java dedicated to Siva-Parvati are from second half of 1st millennium AD, and some from later centuries. Durga icons and worship have been dated to be from the 10th- to 13th-century.

 

In Nakhorn Si Thammarat province of Thailand, excavations at Dev Sathan has yielded a Hindu Temple dedicated to Vishnu (Na Pra Narai), a lingam in yoni, a Shiva temple (San Pra Isuan). The sculpture of Parvati found at this excavation site reflect the South Indian style.Bali, IndonesiaParvati, locally spelled as Parwati, is a principal goddess in modern day Hinduism of Bali. She is more often called Uma, and sometimes referred to as Giriputri (daughter of the mountains). She is the goddess of mountain Gunung Agung. Like Hinduism of India, Uma has many manifestations in Bali, Indonesia. She is the wife of deity Siwa. Uma or Parwati is considered as the mother goddess that nurtures, nourishes, grants fertility to crop and all life. As Dewi Danu, she presides over waters, lake Batur and Gunung Batur, a major volcano in Bali. Unlike India where Sri refers to Lakshmi, Sri is another name of Uma in Bali; her icons and pillar temples grace terraced rice fields (sawahs). Parwati's small pillar temples in rice fields is to seek her blessings of abundance and a good crop. Her ferocious form in Bali is Dewi Durga. As Rangda, she is wrathful and presides cemeteries. As Ibu Petri, Parwati of Balinese Hinduism is the goddess of earth. The legends about various manifestations of Parwati, and how she changes from one form to another, are in Balinese literature, such as the palm-leaf (lontar) manuscript Andabhuana.

 

RELATED GODDESS

BUDDHISM

Tara found in some sects of Buddhism, particularly Tibetan and Nepalese, is related to Parvati. Tara too appears in many manifestations. In tantric sects of Buddhism, as well as Hinduism, intricate symmetrical art forms of yantra or mandala are dedicated to different aspects of Tara and Parvati.

 

ANCIENT CIVILIZATIONS

Parvati is closely related in symbolism and powers as Cybele of Greek and Roman mythology and as Vesta the guardian goddess of children. In her manifestation as Durga, Parvati parallels Mater Montana. She is the equivalent of Magna Mater (Universal Mother). As Kali and punisher of all evil, she corresponds to Proserpine and Diana Taurica.

 

As Bhawani and goddess of fertility and birthing, she is the symbolic equivalent of Ephesian Diana. In Crete, Rhea is the mythological figure, goddess of the mountains, paralleling Parvati; while in some mythologies from islands of Greece, the terrifying goddess mirroring Parvati is Diktynna (also called Britomartis). At Ephesus, Cybele is shown with lions, just like iconography of Parvati is sometimes shown with a lion.

 

Carl Jung, in Mysterium Coniunctionis, states that aspects of Parvati belong to the same category of black goddesses as Artemis, Isis and Mary. Edmund Leach equates Parvati in her relationship with Shiva, with that of Greek goddess Aphrodite - a symbol of sexual love.

 

108 NAMES OF PARVATI

Parvati is known by 108 different names. Following are the name along with it meaning.

 

Aadya: The meaning of this name is initial reality.

Aarya: It is the name of the Goddess

Abhavya: Signifies fear

Aeindri: The power of Lord Indra.

Agnijwala: Signifies fire

Ahankaara: Indicates pride.

Ameyaa: The name signifies beyond measure.

Ananta: Signifies one who is infinite.

Ananta: The Infinite

Anekashastrahasta: It means the possessor of many hand weapons

AnekastraDhaarini: It means the possessor of many weapons

Anekavarna: Person with multiple complexions.

Aparna: Signifies a person who does not eat anything during fasting

Apraudha: Signifies a person who does not age

Bahula: Various forms

Bahulaprema: Loved by everyone

Balaprada: Signifies the giver of strength

Bhaavini: The Beautiful Woman

Bhavya: Future

Bhadrakaali: One of the forms of Goddess Kali

Bhavani: The abode of the universe

Bhavamochani: The absolver of the universe

Bhavaprita: Loved by everyone in the universe

Bhavya: Indicates magnificence

Braahmi: God Brahma’s power

Brahmavaadini: Present everywhere

Buddhi: Intelligence

Buddhida: The bestower of wisdom

Chamunda: Name of Goddess who killed the demons Chanda and Munda

Chandaghanta: Mighty bells

ChandaMundaVinashini: Goddess who killed asuras Chanda and Munda

Chinta: Tension

Chita: Death-bed

Chiti: The thinking mind

Chitra: The Picturesque

Chittarupa: Thinking or thoughtful state.

Dakshakanya: It is the name of daughter of Daksha

Dakshayajnavinaashini: Interrupter of the sacrifice of Daksha

Devamata: Mother Goddess

Durga: The Invincible

Ekakanya: The girl child

Ghorarupa: Fierce outlook

Gyaana: Knowledge

Jalodari: Abode of the ethereal universe

Jaya: The Victorious

Kaalaratri: Goddess who is black and is similar to the night.

Kaishori: The adolescent

Kalamanjiiraranjini: Musical anklet

Karaali: Violent

Katyayani: Sage Katyanan worships this name

Kaumaari: Adolescent

Komaari: Beautiful adolescent

Kriya: Action

Krrooraa: Brutal

Lakshmi: Goddess of Wealth

Maaheshvari: Power of Lord Shiva

Maatangi: Goddess of Matanga

MadhuKaitabhaHantri: Goddess that killed the demons Madhu and Kaitabha

Mahaabala: Strength

Mahatapa: Penance

Mahodari: Keeping the universe in a huge belly

Manah: Mind

Matangamunipujita: Worshipped by Sage Matanga

Muktakesha: Open tresses

Narayani: Lord Narayana destructive attributes

NishumbhaShumbhaHanani: Goddess who killed brothers Shumbha Nishumbha

Mahishasura Mardini: Goddess who killed demon Mahishasura

Nitya: Eternal one

Paatala: The color red

Paatalavati: Wearing the color red and white

Parameshvari: Ultimate Goddess

Pattaambaraparidhaana: Dress made of leather

Pinaakadharini: Trident of Shiva

Pratyaksha: Real

Praudha: Old

Purushaakriti: Taking the form of a man

Ratnapriya: Adorned

Raudramukhi: Fierce face like destroyer Rudra

Saadhvi: Sanguine

Sadagati: Bestowing Moksha

Sarvaastradhaarini: Possessor of missile weapons

Sarvadaanavaghaatini: Ability to kill all the demons

Sarvamantramayi: Instruments of thought

Sarvashaastramayi: Deft in all theories

Sarvavahanavahana: Rides all vehicles

Sarvavidya: Knowledgeable

Sati: Women who burned on the pyre of her husband

Satta: Above all

Satya: Truth

Satyanandasvarupini: Eternal bliss

Savitri: Daughter of the Sun God Savitr

Shaambhavi: Consort of Shambhu

Shivadooti: Ambassador of Lord Shiva

Shooldharini: Person who holds a monodent

Sundari: Gorgeous

Sursundari: Very Beautiful

Tapasvini: Engaged in penance

Trinetra: Person with three eyes.

Vaarahi: Person who rides on Varaah

Vaishnavi: Invincible

Vandurga: Goddess of forests

Vikrama: Violent

Vimalauttkarshini: Providing joy

Vishnumaya: The spells of Lord Vishnu

Vriddhamaata: Mother who is old

Yati: Person one who renounces the world

Yuvati: Woman

 

WIKIPEDIA

From Wikipedia, the free encyclopedia

  

Navratri (Hindi: नवरात्री Gujarati: નવરાત્રી Oriya: ନର୍ଵାର୍ତୀ Bengali: নবরাত্রি Kannada: ನವರಾತ್ರಿ Assamese: নৱৰাত্রি Marathi: नवरात्री Punjabi: ਨਰਾਤੇ Kashmiri: نَورات / नवरात Telugu: నవరాత్రీ Tamil: நவராத்திரி Malayalam: നവരാത്രി) is a festival dedicated to the worship of the Hindu deity Durga. The word Navaratri means 'nine nights' in Sanskrit, nava meaning nine and ratri meaning nights.[2] During these nine nights and ten days, nine forms of Shakti/Devi are worshiped. The tenth day is commonly referred to as Vijayadashami or "Dussehra" (also spelled Dasara). Navratri is an important major festival and is celebrated all over India. Diwali the festival of lights is celebrated twenty days after Dasara.

 

This festival also corresponds to a nine-day Taoist celebration beginning on the eve of 9th lunar month of the Chinese calendar, which is observed primarily by the ethnic Chinese of Min Nan linguistic group in Southeast Asian countries like Myanmar, Singapore, Malaysia, Thailand and also the Riau Islands called the Nine Emperor Gods Festival.

 

The beginning of spring and the beginning of autumn are considered to be important junctions of climatic and solar influences. These two periods are taken as sacred opportunities for the worship of the Divine Mother Durga. The dates of the festival are determined according to the lunar calendar. on which each women follow tradition to wear nine colours of dress on Navratri.

 

Navaratri represents a celebration of the Goddess Amba, (the Power).

 

Navaratri or Navadurga Parva happens to be the most auspicious and unique period of devotional sadhanas and worship of Shakti (the sublime, ultimate, absolute creative energy) of the Divine conceptualized as the Mother Goddess-Durga, whose worship dates back to prehistoric times before the dawn of the Vedic age.

 

A whole chapter in the tenth mandal of the Rigveda addresses the devotional sadhanas of Shakti. The "Devi Sukta" and "Isha Sukta" of the Rigveda and "Ratri Sukta" of the Samveda similarly sing paeans of praise of sadhanas of Shakti. In fact, before the beginning of the legendary war between the Kauravas and Pandavas in the Mahabharata – a foundational Sanskrit epic in the Hindu tradition – Lord Krishna worshipped Durga, the Goddess of Shakti, for the victory of the Pandvas.

 

Lord Brahma is cited in the Markandey Purana as mentioning to Rishi Markandey that the first incarnation of Shakti was as Shailputri. Further incarnations of the Divine Mother are: Brahmcharñi, Chandraghanta, Kushmanda, Skandamata, Katyayani, Kalratri, Mahagauri and Siddhidatri in that order. These nine manifestations of Shakti, are worshipped as "Nava-Durga". The fifth chapter of the Rudra Sanhita of Shiva Purana also vividly describes the various Divine Emanations of Durga.

 

Since the Vedic Age of the Rishies, the devotional practices recommended during Navratri are primarily those of Gayatri Anushthana.

 

In the Vedic Age of the Indian Culture, the religious philosophy and devotional practices were focused towards true knowledge and ultimate realization of the supreme power of Gayatri (Bram Shakti). The Vedas were the basis of all streams of spirituality and science those days. Gayatri has been the source of the divine powers of the gods and non-goddesses in the heavens and their angelic manifestations and incarnations. Gayatri sadhana was also paramount in the higher level spiritual endeavors of the yogis and tapaswis. Gayatri Mantra was the core-focus of daily practice of sandhya-vandan (meditation and devotional worship) for everyone. As guided by the rishis, specific sadhanas and upasanas of the Gayatri Mantra were sincerely practiced during the festival period of Navaratri by every aspirant of spiritual enlightenment.

 

Traditions of Navratri[edit]

 

Durga Puja at Bagbazar Sarbajanin, North Kolkata.

Navaratri is celebrated five times a year. They are Vasanta Navaratri, Ashadha Navaratri, the Sharad Navaratri, and the Paush/Magha Navaratri. Of these, the Sharad Navaratri of the month of Puratashi and the Vasanta Navaratri of the Vasanta kala are the most important.Other two are observed only by shaktas only

 

Vasanta Navaratri: Vasanta Navaratri, is nine days dedicated to the nine forms of Shakti (Mother Goddess) in the month of Chaitra (March–April) and is observed during the Shukla Paksha (waxing phase of moon) of Chaitra. The beginning of this Navratri also marks the start of the new year as per the Hindu mythological lunar calendar (Vikrami Samvat).

Ashad Navratri : Gupta Navaratri, also referred as Ashadha or Gayatri or Shakambhari Navaratri, is nine days dedicated to the nine forms of Shakti (Mother Goddess) in the month of Ashadha (June–July). Gupta Navaratri is observed during the Ashadha Shukla Paksha (waxing phase of moon).this is mostly observed by shaktas only

  

Sharad Navaratri: This is the most important of the Navaratris. It is simply called Maha Navaratri (the Great Navratri) and is celebrated in the 'pratipada' (first day) of the bright fortnight of the lunar month of Ashvin. Also known as Sharad Navaratri, as it is celebrated during Sharad (beginning of winter, September–October).

Paush Navaratri: Paush Navaratri is nine days dedicated to the nine forms of Shakti (Mother Goddess) in the month of Tarashi (December–January). Paush Navaratri is observed during the Paush Shukla Paksha (waxing phase of moon).

Magha Navaratri: Magha Navaratri, also referred as Gupta Navaratri, is nine days dedicated to the nine forms of Shakti (Mother Goddess) in the month of Magha (January–February). Magha Navaratri is observed during the Magha Shukla Paksha (waxing phase of moon).

  

The Story of Vasanta Navaratri[edit]

In days long gone by, King Dooshibago was killed by a lion when he went out hunting. Preparations were made to crown the prince Sudarsana. But, King Yudhajit of Ujjain, the father of Queen Lilavati, and King Virasena of Kalinga, the father of Queen Manorama, were each desirous of securing the Kosala throne for their respective grandsons. They fought with each other. King Virasena was killed in the battle. Manorama fled to the forest with Prince Sudarsana and a eunuch. They took refuge in the hermitage of Rishi Bharadwaja.

 

The victor, King Yudhajit, thereupon crowned his grandson, Satrujit, at Ayodhya, the capital of Kosala. He then went out in search of Manorama and her son. The Rishi said that he would not give up those who had sought protection under him. Yudhajit became furious. He wanted to attack the Rishi. But, his minister told him about the truth of the Rishi’s statement. Yudhajit returned to his capital.

 

Fortune smiled on Prince Sudarsana. A hermit’s son came one day and called the eunuch by his Sanskrit name Kleeba. The prince caught the first syllable Kli and began to pronounce it as Kleem. This syllable happened to be a powerful, sacred Mantra. It is the Bija Akshara (root syllable) of the Divine Mother. The Prince obtained peace of mind and the Grace of the Divine Mother by the repeated utterance of this syllable. Devi appeared to him, blessed him and granted him divine weapons and an inexhaustible quiver.

 

The emissaries of the king of Benares passed through the Ashram of the Rishi and, when they saw the noble prince Sudarsana, they recommended him to Princess Sashikala, the daughter of the king of Benares.

 

The ceremony at which the princess was to choose her spouse was arranged. Sashikala at once chose Sudarsana. They were duly wedded. King Yudhajit, who had been present at the function, began to fight with the king of Benares. Devis helped Sudarsana and his father-in-law. Yudhajit mocked Her, upon which Devi promptly reduced Yudhajit and his army to ashes.

 

Thus Sudarsana, with his wife and his father-in-law, praised Devi. She was highly pleased and ordered them to worship her with havan and other means during the Vasanta Navarathri. Then she disappeared.

 

Prince Sudarsana and Sashikala returned to the Ashram of Rishi Bharadwaja. The great Rishi blessed them and crowned Sudarsana as the king of Kosala. Sudarsana and Sashikala and the king of Benares implicitly carried out the commands of the Divine Mother and performed worship in a splendid manner during the Vasanta Navarathri.

 

Sudarsana’s descendants Sri Rama and Lakshmana also performed worship of Devi during the Sharad Navarathri and were blessed with Her assistance in the recovery of Sita.

 

According to the Krittibas Ramayana, Rama invoked the goddess Durga in his epic battle against Ravana. Although Goddess Durga was traditionally worshipped in the late spring, due to contingencies of battle, Lord Rama had to invoke her in the form of astam (eighth) Mahavidya (Maa Bagla) in the autumn and thus is known as akaal bodhan (invoking out of scheduled time). This autumnal ritual was different from the conventional Durga Puja, which is usually celebrated in the springtime. So, this Puja is also known as 'akal-bodhan' or out-of-season ('akal') worship ('bodhan'). This Rama's date for the Navratra puja has now gained ascendancy and culminates with Dusherra in North India on the following day.

 

Forms of Shakti[edit]

Main article: Navadurga

Nine forms of Shakti are worshipped during the Navaratris. The Devis worshipped depend on the tradition of the region.

 

Durga

Bhadrakali

Amba or Jagadamba, Mother of the universe

Annapoorna devi, The one who bestows grains (anna) in plenty (purna: used as subjective)

Sarvamangala, The one who gives happiness (mangal) to all (sarva)

Bhairavi

Chandika or Chandi

Lalita

Bhavani

Mookambika

Rituals[edit]

A photo of the Srikanta Datta Narasimharaja Wadiyar, scion of the Wodeyar dynasty

Srikanta Datta Wadiyar, incumbent Maharaja of Mysore inaugurating first day of Mysore Dasara

The sharan navratri commences on the first day (pratipada) of the bright fortnight of the lunar month of Ashvin. The festival is celebrated for nine nights once every year during the beginning of October, although as the dates of the festival are determined according to the lunar calendar, the festival may be held for a day more or a day less.

 

Navaratri is celebrated in different ways throughout India. In North India, all three Navaratris are celebrated with much fervor by fasting on all nine days and worshiping the Mother Goddess in her different forms. The Chaitra Navratri culminates in Ram Navami and the Sharad Navaratri culminates in Durga Puja and Dussehra. The Dussehra of Kullu in Himachal Pradesh is particularly famous in the North. Navratri festival in Gujarat is one of the main festivals. Garba is a dance which people perform on all nine nights, after the Durga Pooja, in groups accompanied by live orchestra or devotional songs.

 

The last four days of Sharad Navaratri take on a particularly dramatic form in the state of West Bengal in eastern india where they are celebrated as Durga Puja.[3] This is the biggest festival of the year in this state. Exquisitely crafted and decorated life-size clay idols of the Goddess Durga depicting her slaying the demon Mahishasura are set up in temples and other places. These idols are then worshiped for five days and immersed in the river on the fifth day.

 

In Western India, particularly in the state of Gujarat and Mumbai, Navratri is celebrated with the famous Garba and Dandiya-Raas dance. Since the past few years, the Government of Gujarat has been organising the "Navratri Festival Celebrations" on a regular basis for the nine days of Navratri Festival in Gujarat. People from all over Gujarat and even abroad come to participate in the nine-day celebration. It is also popular throughout India and among Indian communities around the world including the UK, Canada, Malaysia, Singapore and USA.

 

In the temples of Goa,on the first day of the seventh month of the Hindu calendar Ashwin, in some temples, a copper pitcher is installed surrounded by clay in which nine varieties of food grains are sown inside the sanctum sanctorum of the temple. All the nine nights are celebrated by presenting devotional songs, and through religious discourses. Later in the night the idol of the goddess is put in a specially-decorated colourful swing and for nine nights, this swing is being swung to the tune of temple music (called as ranavadya) by devotees who throng in large numbers to participate in the festival. [4]

 

In South India, people set up steps and place idols on them. This is known as golu. Photos of typical golu displayed in Tamil Nadu style can be found here.

 

In Karnataka, Ayudha Puja, the ninth day of Mysore Dasara, is celebrated with the worship of implements used in daily life such as computers, books, vehicles, or kitchen tools. The effort to see the divine in the tools and objects one uses in daily life is central to this celebration, so it includes all tools that help one earn one's livelihood. Knowledge workers go for books, pen or computers, farmers go for the plough and other agricultural tools, machinery for industrialists and cars/buses/trucks for the transportation workers—all are decorated with flowers and worshiped on this day invoking God's blessing for success in coming years. It is believed that any new venture such as starting of business or purchasing of new household items on this day is bound to bring success and prosperity.

 

Mysore is well known for the festivities that take place during the period of Dasara, the state festival of Karnataka. The Dasara festivities, which are celebrated over a ten-day period, it made official festival of the state by King Raja Wodeyar I in 1610.[5] On the ninth day of Dasara, called Mahanavami, the royal sword is worshipped and is taken on a procession of decorated elephants, camels and horses.[5] On the tenth day, called Vijayadashami, the traditional Dasara procession (locally known as Jumboo Savari) is held on the streets of Mysore. An image of the Goddess Chamundeshwari is placed on a golden howdah on the back of a decorated elephant and taken on a procession, accompanied by tableaux, dance groups, music bands, decorated elephants, horses and camels.[5] The procession starts from the Mysore Palace and culminates at a place called Bannimantapa, where the banni tree (Prosopis spicigera) is worshipped.[5] The Dasara festivities culminate on the night of Vijayadashami with a torchlight parade, known locally as Panjina Kavayatthu.[5]

 

In Kerala and in some parts of Karnataka three days: Ashtami, Navami, and Vijaya Dashami of Sharad Navarathri are celebrated as Sarasvati Puja in which books are worshiped. The books are placed for Puja on the Ashtami day in own houses, traditional nursery schools, or in temples. On Vijaya Dashami day, the books are ceremoniously taken out for reading and writing after worshiping Sarasvati. Vijaya Dashami day is considered auspicious for initiating the children into writing and reading, which is called Vidyarambham. Tens of thousands of children are initiated into the world of letters on this day in Kerala.

 

In Telangana region of Andhra Pradesh, people celebrate Bathukamma festival over a period of nine days. It is a kind of navratri celebration.

 

Here Navratri is divided into sets of three days to adore three different aspects of the supreme goddess or goddesses.

  

Effigy of Ravana being burnt

First three days: The goddess is separated a spiritual force called Durga also known as Kali in order to destroy all our evil and grant boons.

 

Second three days: The Mother is adored as a giver of spiritual wealth, Lakshmi, who is considered to have the power of bestowing on her devotees inexhaustible wealth, as she is the goddess of wealth.

 

Last three days:

  

Effigy of Ravana being burnt

See also: Kanya Puja

The final set of three days is spent in worshiping the goddess of wisdom, Saraswati. In order to have all-round success in life, believers seek the blessings of all three aspects of the divine femininity, hence the nine nights of worship.

 

Eighth day is traditionally Durgashtami which is big in Bengal and Bihar.

 

In some parts of South India, Saraswati puja is performed on the 9th day. Ayudha Puja is conducted in many parts of South India on the Mahanavami (Ninth) day with much fanfare. Weapons, agricultural implements, all kinds of tools, equipments, machinery and automobiles are decorated and worshipped on this day along with the worship of Goddess. The work starts afresh from the next day, i.e. the 10th day which is celebrated as 'Vijaya Dashami'. Many teachers/Schools in south India start teaching Kindergarten children from that day onwards.

 

In North India, as the culmination of the Ramlila which is enacted ceremoniously during Dussehra, the effigies of Ravana, Kumbhakarna, and Meghanada are burnt to celebrate the victory of good (Rama) over evil forces on the 'Vijaya Dashami' day.

 

During Navratri, some devotees of Durga observe a fast and prayers are offered for the protection of health and prosperity. Devotees avoid meat, alcoholic drinks, grains, wheat and onion during this fast. Grains are usually avoided since it is believed that during the period of Navratri and seasonal change, grains attract and absorb lots of negative energies[6] from the surrounding and therefore there is a need to avoid eating anything which are produced from grains for the purification of Navratri to be successful. Navratri is also a period of introspection and purification, and is traditionally an auspicious and religious time for starting new ventures.

 

During this vowed religious observance, a pot is installed (ghatasthapana) at a sanctified place at home. A lamp is kept lit in the pot for nine days. The pot symbolises the universe. The uninterrupted lit lamp is the medium through which we worship the effulgent Adishakti, i.e. Sree Durgadevi. During Navratri, the principle of Sree Durgadevi is more active in the atmosphere.

 

Navratri is celebrated in a large number of Indian communities. The mother goddess is said to appear in 9 forms, and each one is worshiped for a day. These nine forms signify various traits that the goddess influences us with. The Devi Mahatmya and other texts invoking the Goddess who vanquished demons are cited.

 

During the eight or ninth day, Kanya Puja, pre-pubescent girls are ceremonially worshipped.

 

Food during Navratri Fast[edit]

The Navratri abstinence is observed from the first day to the ninth day. Most people confine themselves to fruit during the nine days/nights. Most devotees take a single meal during the day/night, and non-vegetarian food is avoided. Also, the consumption of onion and garlic is avoided for the entire duration of Navaratri.

 

Navratri Dishes[edit]

 

Sabudana vada Ideal food during Navaratri fast

Paasi paruppu (moong dal) Sundal

Konda kadalai (chick peas) Sundal

Pattani (yellow peas) Sundal

Black bean Sundal

Pachai payaru (green moong) Sundal

Peanut (kadalai) Sundal

Karamani (black eyed peas) Sundal

rajma (red kidney beans) sundal

Soya bean sundal

Sabudana vada

Sabudana Khichadi

Puri Chana and Halwa

Makhane Ki Sabzi

Sawank Ke Chawal

Dahi Pudine Wale Aloo

Shakarkandi Ki Chaat

Sabudana Papad

Banana Raita

Aloo Raita

Singhare Ke Pakode

Banana Chips

Kaddu Ka Raita

Malaiwale Kofte

Fruits/Fruit Juices

Sabudana Khir

Bhagar

Varai

Bhindi Sabzi

Ramdana (rajgira) ladoo

Sweet Puttu

Kuttu ka aata ki poori/sabzi

Singhare Ki Barfi

See also[edit]

 

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NAMES IN INDIAN AND ASIAN LANGUAGES

 

SANSKRIT: Kushmanda. Brihatphala, Ghrinavasa, Gramyakarkati, Karkaru

 

ASSAMESE : Komora.

BENGALI : Chalkumro.

BURMESE : Kyauk-hpayon.

CHINESE : Dong gua (Cantonese Tung kwa), Bai dong gua, Yin dong gua.

HINDI : Pethaa (Petha), Pethaa kaddu, Safed kaddu .

KANNADA : Boodagumbala, Boodu gumbala, Budekumbalakayi.

MALAY : Kundor, Kundur (Indonesia).

MALAYALAM : Kumbalanga.

MANIPURI: Torobot

MARATHI : Kohala.

NEPALESE : Kubiindo (Kubindo), Pethaa (Petha).

SINHALESE : Puhul.

TAGALOG : Kandol.

TAMIL : Neer poosanikai, Pooshnikai.

TELUGU : Boodida gummadikaaya, Budida gummadikaya.

THAI : Faeng, ฟัก Fak, Mafak khom, Mafak mon, Mafak mon khom.

VIETNAMESE : Bí đao, Cây bí đao, Quả bí đao, Trái bí đao.

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This is the only member of the Genus 'Benincasa'.

 

A large, mature Ash Gourd rests on the ground attached to the vine, compared with 2.54cm coin.

Benincasa hispida

Family Cucurbitaceae

Hunt Grove, Merritt Island, Florida, USA.

===================================================================

On the fourth night of Navaratri, we celebrate Kushmanda Devi. When there was darkness everywhere and there was no existence of the universe, Goddess Kushmanda created the universe with a smile.

 

On this especially joyful night of celebration, Paramahamsa Vishwananda sang many beautiful bhajans to the Divine Mother. The yagna culminated with the offering of a pumpkin to Kushmanda Devi. Gurudev explained in his satsang that the pumpkin is an Autumn vegetable that creates balance in the body when eaten during this time of year. He also spoke about the unity of everything, and the importance of looking for God within our own hearts.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri, we celebrate Kushmanda Devi. When there was darkness everywhere and there was no existence of the universe, Goddess Kushmanda created the universe with a smile.

 

On this especially joyful night of celebration, Paramahamsa Vishwananda sang many beautiful bhajans to the Divine Mother. The yagna culminated with the offering of a pumpkin to Kushmanda Devi. Gurudev explained in his satsang that the pumpkin is an Autumn vegetable that creates balance in the body when eaten during this time of year. He also spoke about the unity of everything, and the importance of looking for God within our own hearts.

 

paramahamsavishwananda.com

bhaktimarga.org

Durga Ma

This year, Nights 3 and 4 are combined, so we celebrated both together: Goddess Chandraghanta and Goddess Kushmanda.

 

Although fearsome in this aspect with all Her arms and weapons, Chandraghanta is actually the goddess of peace and tranquility, and spreads a sense of calm all around Her. Chandraghanta gives the blessing of delight in our spiritual practice, and is therefore a powerful ally along the spiritual path.

 

Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

Every night of Navaratri we perform a Guru-puja, Kalash-puja, yajna, abhishekam, and arati, as well as Divya Prabandham satsangs from different speakers and comments throughout the evening by Gurudev Himself. Tonight, Gurudev continued His commentary on the Mukunda Mala Stotram.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

This year, nights 3 and 4 are combined, so we celebrated both goddess Chandraghanta and Goddess Kushmanda together.

 

Although fearsome in this aspect with all Her arms and weapons, Chandraghanta is actually the goddess of peace and tranquillity and spreads a sense of calm all around Her. Chandraghanta gives the blessing of delight in our spiritual practice and is, therefore, a powerful ally along the spiritual path.

 

Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

Every night of Navaratri we perform a guru-puja, kalash-puja, yajna, abhishekam, and arati, as well as Divya Prabandham satsangs from different speakers and comments throughout the evening by Gurudev Himself.

 

In His satsang, Gurudev reminded us to not go into negativity but to choose positivity to contribute to the world. He explained that we should not go to Bhagavati with a list of problems to be solved, but with the will to be transformed.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

 

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

Navaratri is a festival celebrating the nine forms of the Divine Mother, Goddess Durga. On the fourth night of Navaratri, we celebrate Goddess Kushmanda. Her name means “little warm cosmic egg” and She is the power by which this universe was created.

 

When all was darkness and emptiness, She sparked the creation of the universe simply with Her smile, and Her light spread out like the rays of the sun. At that moment, She manifested herself into creation, so She is an embodiment of that creative instant. She is said to bring light into the darkness, to purify one’s spiritual endeavours, and to establish harmony in one’s life.

 

Find out more:

www.bhaktimarga.org

On the fourth night of Navaratri, we celebrate Kushmanda Devi. When there was darkness everywhere and there was no existence of the universe, Goddess Kushmanda created the universe with a smile.

 

On this especially joyful night of celebration, Paramahamsa Vishwananda sang many beautiful bhajans to the Divine Mother. The yagna culminated with the offering of a pumpkin to Kushmanda Devi. Gurudev explained in his satsang that the pumpkin is an Autumn vegetable that creates balance in the body when eaten during this time of year. He also spoke about the unity of everything, and the importance of looking for God within our own hearts.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

For more information:

www.bhaktimarga.org

माँ भगवती दुर्गा के चौथे स्वरूप का नाम माँ कूष्माण्डा है। अपनी हंसी द्वारा अर्थात् ब्रह्माण्ड को उत्पन्न करने के कारण इन्हें माँ कूष्माण्डा के नाम से अभिहित किया गया है। जब सृष्टि का कोई अस्तित्व नहीं था तो चारों ओर सिर्फ अंधकार ही अंधकार परिव्याप्त था। तब माँ ने अपने मंद मुस्कान से इस ब्रह्माण्...

 

www.l4lol.com/maa-kushmanda/

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

Its celebrated on 8th day of "Navratras" that is 9 special days for Durga's 9 different incarnations.

 

#1 Shelputri

#2 Brahamcharini

#3 Kushmanda

#4 Skandmata

#5 Chandarghanta

#6 Katyayni

#7 Kalratri

#8 Mahagori

#9 Sidhidatri

 

May Goddess Durga shower her blessings on all.

 

Copyright to respective artist.

This year, Nights 3 and 4 are combined, so we celebrated both together: Goddess Chandraghanta and Goddess Kushmanda.

 

Although fearsome in this aspect with all Her arms and weapons, Chandraghanta is actually the goddess of peace and tranquility, and spreads a sense of calm all around Her. Chandraghanta gives the blessing of delight in our spiritual practice, and is therefore a powerful ally along the spiritual path.

 

Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

Every night of Navaratri we perform a Guru-puja, Kalash-puja, yajna, abhishekam, and arati, as well as Divya Prabandham satsangs from different speakers and comments throughout the evening by Gurudev Himself. Tonight, Gurudev continued His commentary on the Mukunda Mala Stotram.

 

paramahamsavishwananda.com

bhaktimarga.org

Sonarika Bhadoria as Nine Durgas in Devon ke Dev ... Mahadev, Life OK, Star India.

Source: www.facebook.com/SonarikaBhadoriaParvatiAdiShakti

On the fourth night of Navaratri, we celebrate Kushmanda Devi. When there was darkness everywhere and there was no existence of the universe, Goddess Kushmanda created the universe with a smile.

 

On this especially joyful night of celebration, Paramahamsa Vishwananda sang many beautiful bhajans to the Divine Mother. The yagna culminated with the offering of a pumpkin to Kushmanda Devi. Gurudev explained in his satsang that the pumpkin is an Autumn vegetable that creates balance in the body when eaten during this time of year. He also spoke about the unity of everything, and the importance of looking for God within our own hearts.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

 

On the fourth night of Navaratri, we celebrate Kushmanda Devi. When there was darkness everywhere and there was no existence of the universe, Goddess Kushmanda created the universe with a smile.

 

On this especially joyful night of celebration, Paramahamsa Vishwananda sang many beautiful bhajans to the Divine Mother. The yagna culminated with the offering of a pumpkin to Kushmanda Devi. Gurudev explained in his satsang that the pumpkin is an Autumn vegetable that creates balance in the body when eaten during this time of year. He also spoke about the unity of everything, and the importance of looking for God within our own hearts.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

Godess Durga

On the fourth night of Navaratri, we celebrate Kushmanda Devi. When there was darkness everywhere and there was no existence of the universe, Goddess Kushmanda created the universe with a smile.

 

On this especially joyful night of celebration, Paramahamsa Vishwananda sang many beautiful bhajans to the Divine Mother. The yagna culminated with the offering of a pumpkin to Kushmanda Devi. Gurudev explained in his satsang that the pumpkin is an Autumn vegetable that creates balance in the body when eaten during this time of year. He also spoke about the unity of everything, and the importance of looking for God within our own hearts.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

 

206,936 items / 1,689,733 views

 

From a mail attachment

 

During the festival of Navratri, Goddess Durga Devi is worshipped in nine avatars. During these nine holy days, each day of goddess Durga Mata is worshipped in differnt avatara.

 

First day of Navratri – Kalasha Sthapana (Kalasha Pooja) or Ghata Sthapana – Shailaputri Puja

Second day of Navratri – Preeti Dwitiya – Brahmacharini Puja

Third day of Navaratri – Chandrakanta pooja or Chandraghanta puja

Fourth day of Navaratri – Kushmanda pooja

Fifth day of Navratri – Skandamata Puja – Lalitha Panchami

Sixth day of Navratri – Katyayani Puja – Maha Shashti or Durga Shashti

Seventh day of Navratri – Kaalratri Pooja – Durga Saptami or Maha Sapthami

Eighth day of Navaratri – Maha Gauri Pooja – (Durgashtami Puja/Maha Ashtami/Veerashtami)

Ninth day of Navaratri – Siddhidatri Puja – (Mahanavami/Maharnavami or Durga Navami)

Tenth day of Navratri – Aparajitha Puja or Shami Pooja – Vijaya Dashami or Dasara

 

Nine Forms Of MAA Durga Devi:

 

Navaratri Nine Avatars – 9 Forms of Maa DurgaMata Shailputri – First Avatara of Durga :

Mata Shailputri is a daughter of ‘Parvata raju’ (mountain king) – Himalaya / Himvanth. She is the first among nine avatars of Durga and worshiped on the First day of Navaratri . In her previous birth, she was ‘Sati Bhavani Mata’, the daughter of King Daksha. Mata Shailputri, also known as Parvati got married with Lord Shiva. On the first day of Durga Navratri, Paravathi Devi she is worshipped. Mata Shailputri holds a ‘Trishul’, a weapon, in her right hand and a lotus in her left hand. She rides on bull. She has pleasant smile and blissful looks.

 

Navaratri Nine Avatars – 9 Forms of Maa DurgaMata Brahmacharini – Second Avatara of Durga :

Mata Brahmacharini is worshipped on second day of Navarathri. Brahmacharini is the goddess who performed ‘Tapa’ (penance) (Brahma – Tapa , Charini - Performer ). Mata personifies love and loyalty. She holds japa mala in her right hand and Kamandal in left hand. She is also called as ‘Uma’ and ‘Tapacharini’ and provides knowledge and wisdom to her devotees.

 

Navaratri Nine Avatars – 9 Forms of Maa DurgaMata Chandraghanta – Third Durga :

Mata Chadraghanta is worshipped on the thrid day of Navratri. She is very bright and charming. Durga Maa is astride a tiger, displays a golden hue to HER skin, possesses ten hands and 3 eyes. Eight of HER hands display weapons while the remaining two are respectively in the mudras of gestures of boon giving and stopping harm. Chandra + Ghanta, meaning supreme bliss and knowledge, showering peace and serenity, like cool breeze in a moonlit night. Navaratri Nine Avatars – 9 Forms of Maa Durga

 

Mata Kushmanda – Fourth Durga :

Mata Kushmanda is worshipped on the fourth day of Navrathri. . She shines brightly with a laughing face in all ten directions as the Sun. She controls whole Solar system. In her eight hands, she holds several types of weapons in six hands and a rosary and a lotus in remaining hands. She rides on Lion. She likes offerings of ‘Kumhde’, hence her name ‘Kushmanda’ has become popular.

 

Navaratri Nine Avatars – 9 Forms of Maa DurgaMa Skanda Mata – Fifth Durga :

Skanda Mata is worshipped on the fifth Day of Navratri. She had a son ‘Skandaa and holds him on her lap . She has three eyes and four hands; two hands hold lotuses while the other 2 hands respectively display defending and granting gestures. Its said, by the mercy of Skandmata, even the idiot becomes an ocean of knowledge. The great and legendary Sanskrit Scholar Kalidas created his two masterpieces works “Raghuvansh Maha Kavya” and “Meghdoot” by the grace of Skandmata. Mata is considered as a deity of fire. She rides on Lion.

 

Navaratri Nine Avatars – 9 Forms of Maa DurgaMata Katyayani – Sixth Durga :

Mata Katyayani is worshippedon the the Sixth Day of Navratri. Rishi Katyayan observed a penance to get Jaganmata as his daughter. She blessed him and took birth as his daughter on the bank of river Jamuna for getting Lord Krishna as a husband. She is considered as prime deity of Vraj mandal. Ma Katyayani has three eyes and four hands. . One left hand holds a weapon and the other a lotus She rides on Lion.

 

Navaratri Nine Avatars – 9 Forms of Maa DurgaMata Kalratri – Seventh Durga :

Mata Kalaratri is worshipped on the Seventh Day of Navratri . She is dark and black like night, hence she is called as ‘Kalratri’. Her hairs are unlocked and has three eyes and four hands.while the remaining 2 are in the mudras of “giving” and “protecting”. HER vahana is a faithful donkey. The destroyer of darkness and ignorance. She spills out fire from her nostrils. She holds a sharp Sword in her right hand and blesses her devotees with her lower hand. As she blesses her devotees with prosperity, she is also called as ‘Shubhamkari’.

 

Navaratri Nine Avatars – 9 Forms of Maa DurgaMata Maha Gauri – Eighth Durga :

Mata Maha Gowri is worshipped on the Eight Day of Navratri. Maha Gauri looks as white as moon and jasmine. She has three Eyes and four hands. Peace and compassion radiate from HER being and SHE is often dressed in a white or green sari. SHE holds a drum and a trident and is often depicted riding a bull . Her above left hand is in fearless pose and she holds ‘Trishul’ in her lower left hand. Her above right hand has tambourine and lower right hand is in blessing mudra.

 

Navaratri Nine Avatars – 9 Forms of Maa Durga Mata Siddhidatri – Ninth Durga :

Mata Siddhidatri is the worshipped on the Ninth Day of Navratri. Maha Shakti gives all the eight siddhis – Anima, Mahima, Garima, Laghima, Prapti, Prakamya, Iishitva and Vashitva. According to ‘Devi Puran’, the supreme God Shiva got all these siddhis by worshipping the supreme Goddess Maha Shakti. With her gratitude, his half body has become of Goddess, hence Lord Shiva’s name ‘Ardhanarishvar’ has become famous. According to some sources she drives on Lion. Other sources say, she is seated on lotus. Siddhidatri Devi is worshipped by all Gods, Rushis, Muniswaras, Siddha yogis, and all common devotees who want to attain the religious asset.

   

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

 

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

 

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org

On the fourth night of Navaratri we celebrate Goddess Kushmanda. Goddess Kushmanda is considered to be the creator of the universe. When there was darkness everywhere and there was no existence of the universe, She created the universe with a smile.

 

paramahamsavishwananda.com

bhaktimarga.org