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My first try to take multiple exposure.
CWC Walk # 466 | Koyambedu Market | 2nd August 2015
Thanks Vinith for your guidance.
In-camera multiple exposure, changing the camera angle at each shot, created some fun images in my garden! I also added some texture effects and a mat digitally.
My response to a Get Pushed challenge given to me by Shreya: Self portrait double exposure.
- a combination of in-camera (self + watch) + leaves & shell in PP.
Autobiographical elements: self + clock + macro leaf (yes, aging) and a spiral, symbol of life and my fave macro animal.
A Class 108 three-car diesel multiple unit passes Bewdley North signal box during Severn Valley Railway’s spring steam gala on 20 April 2025. The unit comprises M52064, withdrawn from British Railways service in November 1990; E59250; and E50253.
Have a good look to distinguish what is real and what is a reflection. Photo without manipulation.
Mira bien para distinguir que es realidad y que es un reflejo. Foto sin manipulación.
Self portrait from a while back suffering from anxiety I keep finding myself overwhelmed with my thoughts my mind sometimes feels as though I don't belong to it. much like this image my body and sole don't meet when I have my attacks.
In front of the Sheikh Zayed ( Grand ) Mosque of Abu Dhabi ,is a huge courtyard or sahn. It is covered in a decorative marble & is 17,000 sq m in size. The surrounding colonnade is supported by 1048 columns ,all clad in white marble & decorated with precious stones
Photo of the Painted Hills captured via Minolta MD Zoom Rokkor-X 75-200mm F/4.5 lens. John Day Fossil Beds National Monument: Painted Hills Section (managed by the National Park Services). John Day/Clarno Uplands Area. Blue Mountains Region. Wheeler County, Oregon. Early April 2017.
Exposure Time: 1/50 sec. * ISO Speed: ISO-100 * Aperture: F/11 * Bracketing: None
Nikon D2x with 24mm F2.8 lens, double exposure done by the Camera's feature-Multiple Exposure to create an Orton Effect.
www.naturephotographers.net/articles0106/dw0106-1.html
www.flickr.com/groups/double_exposure/discuss/72157594464...
Last few weeks birding community in Melbourne were delighted with multiple sightings of these beauties. I had an opportunity to visit them today.
there they are; waiting to be photographed. typical text book case. this is what honey eaters suppose to be doing , doesn't it?
Scarlet Honeyeater, Myzomela sanguinolenta - Churchill NP - VIC - ( 28-10-2017)
You've got a friend in me
You've got a friend in me
When the road looks rough ahead
And you're miles and miles from your nice warm bed
You just remember what your old pal said
Boy you've got a friend in me
Yeah you've got a friend in me
This weeks theme is "retrospective", which is an opportunity to look back through the shots of the year and pick one you didn't like(or even one you did) and re-shoot it. For me the Multiple Exposure was the theme I felt I failed with the most(see +1 for the original), so this is the re-shoot.
Week 52 - Retrospective
Fenway Park
HDR panorama of Fenway Park - home of the Boston Red Sox - taken in August 2008. Fenway Park is the major league baseball (MLB) stadium located near the busy Kenmore Square in Boston, Massachusetts, in the Fenway-Kenmore neighborhood. It has served as the home ballpark of the Boston Red Sox baseball club since it opened in 1912. It is the oldest of all current Major League Baseball stadiums. .
The Shot
- Taken from near the last row in the right field bleachers at Fenway Park
- Composed with a Nikon D300, handheld without the assistance of the Tripod
- Multiple, single exposure HDR images with a Nikon 18-200mm f/3.5-5.6 AF-S VR DX Zoom-Nikkor Lens
- 5 multiple Exposure (+2EV, 0EV, -2EV) images stitched in Adobe Photomerge
Adobe Lightroom 1.4.1
- Exposure adjust
- White balance
- Clarity / contrast
- Saturation levels
- Exported for final processing in Adobe Photoshop CS3
Adobe Photoshop CS3 10.0
- All processing in LAB color
- High-pass filter, applied as Overlay,decreased opacity
- S-curve added to Lightness channel for contrast
- S-curve added to the A/B channel for color correction
- Sharpening to Lightness channel only (1.0 pixels, 65%)
Please Comment
Any and all commentary, observations, suggestions or critiques are welcome.
I love the many expressions going on in this picture, including one man who decided to take a rest, perhaps from too much shopping around Orchard Road.
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Copyright © 2015 Wei Kiat.
All rights reserved.
Drop me a email (kiatography@gmail.com) if you wish to purchase my images.
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Ya, will see more of these when using this camera. Luckily shot both under strong daylight. Suddenly, the tiger appears to be in prowling position from bottom up and it’s the year of tiger. Definitely, a lucky or unlucky shot…
This is what it looks like when the multiple exposure lever is left on and you forget. After counting more than 12 frames you begin to wonder what's going on???? I sadly dropped the Bronica and it is no more :(
Taken in Penang, Old City, Malaysia.
Zenza Bronica SQ-A 80mm f/2.8
Kodak Portra 400
New Brighton, Staten Island
Constructed in 1860 by architect Charles Duggin for William S. Pendleton, this exceptional house is a rare surviving example in New York City of a High Victorian picturesque villa incorporating elements of the English Rustic and Swiss Styles. Designed to complement its hillside site, which commanded views of New York and New Jersey, the house features a dominant tower and multiple porches. It is richly embellished with decorative details and is surmounted by a complexly-massed gabled roof, which is set off by overhanging eaves, exposed rafters, open work brackets, decorative trusses, and several prominent chimneys. Born and trained as an architect in England, Duggin immigrated to New York City in 1853, where he became a prominent designer and developer of residential architecture. This house was published twice, in 1862 and 1869, in the Horticulturalist magazine, the journal which helped popularize picturesque designs in the United States.
This house and Duggin’s earlier house at 22 Pendleton Place (c. 1855, a designated New York City Landmark), are considered to be his best-known works Both were part of a complex of seven houses designed by Duggin. William S. Pendleton, a prominent businessman who together with his brother John had established the first commercially successful lithographic firm in the United States, moved to Staten Island around 1845 where he served as president of the North Shore Ferry Company and invested in real estate. The 1 Pendleton Place House was initially leased to stockbroker Thomas M. Rianhard and in later years was occupied by members of the Pendleton family. From the mid-1920s to the mid-1940s the house was owned by William Wirt Mills, a prominent journalist and political leader, who served as Tax Commissioner for the Borough of Staten Island and later as Tax Commissioner for the City of New York under Mayor LaGuardia.
The present owners have undertaken a careful restoration of the house and received an award from the Preservation League of Staten Island in 2005.
Description
Grounds: The 1 Pendleton Place House is located on a quarter-circle-shaped lot at the intersection of Franklin Avenue and Pendleton Place. The lot has a frontage of 209 feet along Franklin Avenue, extends 210 feet through the block to Pendleton Avenue, and has a curving frontage of about 327 feet along Pendleton Place. The house is set back from the streets on the high ground near the middle of the southern property line. The land has been terraced around the house, especially at the front where there is an oval driveway and in rear yard where there is a raised garden. There is a non-historic concrete retaining wall along the northern edge of the property at the intersection of Pendleton Place and Franklin Avenue. On the east side of the property mid-way along the Franklin Avenue frontage there is a historic bluestone paver leading from the sidewalk to a non-historic concrete stair with a non-historic iron pipe rail. Near the southwest corner of the property there is a driveway opening on to Pendleton Place. The location of the driveway is historic but the current asphalt surface is not. Leading off from the entry to driveway is a non-historic flagstone and concrete path that leads to a non-historic concrete patio at the rear of the house. A non-historic concrete path also wraps around the west wing of the house leading to front driveway and the front entrance on the north side of the house. The low concrete and brick curbs that flank sections of the paths and driveway probably date from the first half of the twentieth century. Two concrete urns (planters) on bases, located near the driveway, also probably date from the first half of the twentieth century. The brick ground cover in front of the east porch on the north facade appears to be composed of historic brick. The asphalt path adjacent to the east side of the house is non-historic. A non-historic concrete retaining wall with a built in bench and brick and stone staircase are located at the southeast corner of the rear patio. The staircase provides access to the upper garden.
House: The picturesquely designed frame house is irregular in plan and massing. It is comprised of a cross-gabled three-story main block, with a four story conical-roofed entry tower set in the angle between the north and west wings and a one-story shed-roofed pantry wing on the rear elevation filling the space between the south and east wings. The angle-ended west wing is surrounded by a one-story veranda. There is also a one story porch in the angle between the north and east wings. The house rests on a sandstone foundation, which has traces of old light-colored cement mortar patching at some of its joints. The upper walls are sheathed with non-historic lapped cedar clapboard siding. The baseboards and corner posts are also non-historic. The windows retain their original molded wood surrounds. An engraving of the house published in 1862 shows that they originally contained a mix of one-over-one, two-over-two sash as well as multipane French doors leading to the verandas. Many of these original windows survive while other windows have historic replacement sash. Most of the house’s rich decorative detailing also survives including the jigsawn corner spandrels beneath the porch roof, the bracketed window hoods, cusped vergeboards, elaborate openwork braces and carved brackets, and shaped chimneys (restored c. 1995). In recent years the elaborate jigsawn porch railings were replaced in kind. The bottom of some of the porch posts also were replaced in recent years. The porch stairs (except for the top step on the front stoop) have also been replaced. The rafters that support the porch roofs and the porch ceilings are original. Other changes have included the creation of a new kitchen entrance and changes to the pantry wing, probably c. 1900-1910. The current fiberglass shingle roof dates from the 1980s. Although there have been some losses, notably the small wood corbels beneath the window sills (visible in a historic photo of the house), the gingerbread moldings that ornamented the bay window and tower, the finials that terminated the gables and capped the tower, and perhaps the cresting that extended along the roofline, the house retains an extraordinary amount of its original detailing
The house’s north (primary) facade, facing Pendleton Avenue, has an asymmetric five-bay design. The one-story porch, which opens on to the entrance tower, is approached by a non-historic wood stoop with non-historic wood railings and posts that were designed to match the elements on the other porches. The porch is sheltered by a gabled hood that retains its original molded cornices but has been covered with non-historic shingles. The porch roof has deeply overhanging eaves. The roof is supported by carved posts that are topped by elaborate curved brackets and embellished trusses accented by jigsawn scroll brackets. The entry retains its original paired paneled wood doors with narrow arched windows. The brass letter slot is historic; the doorknobs and other hardware are non-historic. The small metal light fixture suspended from the porch roof near the doorway is non-historic.
The paired French doors on the west side of the tower that open onto the west veranda retain their original triple lights topped by a pair of transoms separated by a wide muntin. The second story windows of the tower retain historic one-over-one wood sash windows. The Tudor arch window openings on the front and west side of the tower at the third story are crowned by projecting hoods that retain their original cusped vergeboards. Both windows retain historic one-over–one wood sash windows with the upper sashes echoing the arched profile of the surrounds. The third story is capped by a coved frieze that retains its unusual knobbed decorations and a molded cornice. The small sections of hipped roof that project beyond the base of the fourth story of the tower are covered with non-historic shingles. The octagonal fourth story of the tower retains most of its historic molded trim including the unusual stylized brackets that support the overhanging eaves beneath the tower’s conical roof; however, the decorative gingerbread molding that used to be suspended from the eaves has been lost. The windows at this story retain their original Tudor arch surrounds but the windows contain non-historic one-over-one wood sash with flat heads. (These windows are scheduled to be replaced.) The top of the tower has a non-historic metal cap.
The west bay of the north facade has a wrap-around veranda at the first story. The crawl space beneath the porch is screened from view by non-historic spandrels with inset panels of diamond pattern wood lattice. The porch has a recently installed wood floor. The wood porch posts with beveled corners and simple capitals are original, although the posts’ base moldings were replaced in recent years. The porch railings are modern replacements based on the design of the original railings. The plate that supports the porch rafters, the decorative scrollwork brackets beneath the plate, the rafters, and the porch ceiling are original. The molded cornice at the edge of the porch roof is a recent non-historic replacement. The single window opening at the center of west bay on the first story has paired French doors and transoms that match the configuration at the base of the tower.
The single window opening at the second story contains a large two-over-two wood sash window that matches the configuration shown in the 1862 engraving of the house. The hipped roof of the third story attic has been reshingled. The overhanging roof eaves retain their original molded cornice and shaped rafters. The brick chimney at the center of the roof was rebuilt in recent years following the form of the original chimney. It has non-historic flues extending above the brickwork.
The projecting gable-fronted pavilion to the east of the entrance tower features a projecting pentagonal bay at the basement and first story. The basement is faced with massive sandstone blocks and is pierced by a central window opening that retains its historic wood surround with small wood corbel brackets beneath the sandstone lintel. The triple light top-hung wood basement window is historic. At the first story the bay window is constructed of wood. The recessed panel decorations beneath the windows are modern replacements. The four tall narrow window openings contain historic one-over wood sash. The bay windows retain their historic molded sill and lintel courses and overhanging cornice but the gingerbread decorations that originally were suspended from the base of the cornice are missing. The second story features a pair of windows in a molded surround capped by a strongly projecting hood resting on curved brackets with knob finials. The window openings contain historic one-over-one wood sash.
The gabled third story is capped by strongly projecting eaves articulated by exposed rafters. Curved braces support the gable at the corners of the bay and a decorative king post is braced by cross trusses. The single window opening in the third story gable contains historic four-over-four wood window sashes.
The east wall of the pavilion has an entry with French doors which have the same historic configuration as the French doors in the tower and west wings. At the second story the central window has an historic two-over-two wood sash window with a wide central muntin.
The two easternmost bays of the north facade are spanned by a one-story porch. The porch posts, jigsawn scrollwork brackets, rafter plate, rafters, ceiling, and cornice are original.
The baseboard moldings under the porch, the porch floor, the masonry steps leading to the porch, and the railings are non-historic. The kitchen entry probably dates from the first decade of the twentieth century. It retains its historic paneled wood and glass door from that period. The storm door and light fixture to the west of the door are non-historic. The first story window surround and the four-over-over-four wood window sash appear to be original. These windows are repeated on the second story.
The east facade is comprised of a single three-story gable ended bay flanked on the north by the one story kitchen porch and on the south by the one story pantry wing. Originally there was a small open porch at the corner of the pantry wing. This area was probably enclosed at the same time as the kitchen entry was inserted in the north facade (c. 1900-1910). At the center of the facade there is a basement window well with a non-historic concrete block retaining wall. The outer face of the wall and its top ledge have been parged with stucco. The brick pier between the windows and the molded window surrounds and top hung window sashes are recent non-historic replacements. The first story is lit by paired historic, four-over-four windows. The second story has one large window opening containing a historic eight-over-eight sash window with heavy center muntins. The narrower third story window in the gable contains a historic four-over-four wood sash window.
The overhanging eaves of this gable are articulated with brackets, braces, exposed rafters, and trusswork to match the north gable. At the base of the pantry extension there is a recently installed metal hatch above basement staircase. The single window on the east wall of the pantry extension has a molded surround that matches the original surrounds on the other sections of the building suggesting that it may have been moved from south wall where the original pantry window opening has been converted to a doorway.
The south facade has an asymmetric five-bay design. The easternmost section comprises the south wall of the pantry extension and the second story south wall of kitchen wing. The southeast corner of this bay, which was originally an open porch, is covered with siding (a wood strip indicates the junction of the enclosed porch and the old scullery wall). The window that originally lit the scullery retains its original molded surround and has historic four-over-four wood sash. The c. 1900-1910 entry that replaces the old pantry window has a paneled wood-and-glass door that matches the door at the kitchen entrance. This door is protected by a non-historic vinyl storm door. There is a non-historic light fixture above the entry. The overhanging eaves of the pantry wing roof retain their original molded cornice. The sloped shed roof that caps the pantry wing is pierced by a central metal exhaust pipe. The second story has two window openings containing historic four-over-four wood sashes.
The east window has been partially sealed beneath the lower sash. A non-historic metal intake vent is suspended from the window by rubber tubing that connects to an air conditioning inside the house. There are two non-historic exhaust pipes near the edge of the sloping roof over the kitchen wing. A smaller lower non-historic pipe is located near the chimney at the roof ridge.
The articulation of the projecting gable-fronted south pavilion (the dining room wing) is almost identical to that of the projecting gable-fronted pavilion on the north facade save for the substitution of a tripartite window for the first story bay window. This window has a wide center opening with historic four-over-four sashes that have a wide center muntin creating the impression that the windows are paired casements. The paired second story windows have historic one-over-one wood sashes and the single gable window contains a historic four-overfour sash window. The small square half-hipped roofed bay to the west of the south pavilion is lit at the first story by a large window containing historic four-over-four wood sashes. The narrower second story window has a historic one-over one wood window. The west wall of this bay has a French door at the first story, which opens on to the veranda that wraps around the western parlor wing.
These historic doors are identical in configuration to the other French doors. The second story is lit by a historic one-over-one wood sash window.
The two-and-one-half-story hipped roofed wing at the western end of the house is surrounded by a wrap-around veranda. The small masonry stoop that approaches the south side of the veranda is not historic. The entry to the veranda is flanked by historic pedestals which rest on non-historic bases and are surmounted by replacement orbed knobs. The other features of the veranda are described above in the section dealing with the west bay of the north facade. There are three entries from the veranda to the parlor via the French doors on the north, west, and south facades of the wing. All contain historic French doors with transoms identical in design to the other French doors on the house. Two of the doors, on the south and north facades, have historic wood and glass storm windows that echo the design of the doors. At the second story the single opening on the south facade has a historic two-over-two wood sash window.
The attic dormer has a historic surround but has non-historic one-over-one window sashes. On the west facade the second story window is set off by a deeply overhanging gable that is supported by exposed rafters and decorative braces similar in design to the braces employed for the larger gables. This gable like the other gables has lost its decorative finial. It is not certain whether the roof peak was ever decorated with the cresting that is represented in the 1862.49 There is also some question as to whether the grand staircase leading to the veranda was ever executed since the owners found no evidence that it had ever been there when the porch was rebuilt.
- From the 2006 NYCLPC Landmark Designation Report
I got the idea for this image from this one on Flickr (www.flickr.com/photos/markvalentine/8570629925/in/gallery...). When I looked at this image on Flickr, I spent some time figuring out a way to capture something similar. As I analyzed this more and more, I decided on using the multiple exposure capture built into my Nikon SLR camera. I practiced on a few other locations and went with five exposures to capture a similar effect and separating each press of the shutter with at least a second. I took this image while walking the sidewalk area on Congress Ave one Sunday afternoon. When I headed out on this photo walk, if you will, with a few ideas in mind. Then I saw this group of people walking, I decided to set myself up near a light pole to steady myself. I later used Capture NX2 to edit the final image.
Experimenting with multiple exposures of shadows on a footpath.
Nikon F4. Fujfilm Velvia 100 35mm E6 slide film.
Class 323 electric multiple unit No. 323218 leaves Sutton Coldfield station with 2R43, the 19:01 Lichfield Trent Valley to Birmingham New Street service on Sunday 8th August 2021.
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
Multiple exposure of a pregnant model I hired in 2016, with one shot of the texture of the ground. Taken at Lion's Park in Bowral.
Nikon F4. AF Nikkor 50mm F1.4D lens. Ilford Super XP2 400 35mm C41 B&W film.