Changes

'''DEVI MAHATMYAM'''

'''Devi Mahatmya also known as 'The Greatness of the Divine Mother''''  

 

'''(The Greatness of the Divine Mother)'''

 

 

'''ORIGIN'''

Shakti-sm is an ancient Indian cult with the Devi-mahatmya as one of its important works elucidating the concept and worship of God as the Divine Mother.  

Shakti-sm is an ancient Indian cult with the Devi-mahatmya as one of its important works elucidating the concept and worship of God as the Divine Mother.  

Gradually, the conception of Durga as the primordial Shakti and of Lakshmi and Sarasvati as Her aspects became popular and thus the devotee visualized the triple aspect of power, beneficence and wisdom in Durga.  

Gradually, the conception of Durga as the primordial Shakti and of Lakshmi and Sarasvati as Her aspects became popular and thus the devotee visualized the triple aspect of power, beneficence and wisdom in Durga.  

'''MARKANDEYA PURANA'''

== '''MARKANDEYA PURANA''' ==

 

The Devi-mahatmya is considered as a part of the '''Markandeya Purana''' (chapters 78 to 90 of Venkatesh Press edition/ chapters 81-93 of K M Banerjea edition of 1862). The Critical Edition of the Markandeya Purana in two volumes, edited by M. L. Wadekar was published from Oriental Institute, Vadodara in 2011. It was prepared from twenty four Manuscripts, selected from out of a total of forty nine Manuscripts collated for the purpose.  

The Devi-mahatmya is considered as a part of the '''Markandeya Purana''' (chapters 78 to 90 of Venkatesh Press edition/ chapters 81-93 of K M Banerjea edition of 1862). The Critical Edition of the Markandeya Purana in two volumes, edited by M. L. Wadekar was published from Oriental Institute, Vadodara in 2011. It was prepared from twenty four Manuscripts, selected from out of a total of forty nine Manuscripts collated for the purpose.  

Markandeya Purana is one of the early puranas and may be assigned to a date between the fourth to sixth century AD.   

Markandeya Purana is one of the early puranas and may be assigned to a date between the fourth to sixth century AD.   

'''DEVI-MAHATMYA'''

== '''DEVI-MAHATMYA''' ==

 

There are more than forty seven commentaries on the Devi-mahatmya like, Anvayartha-prakashika by Ekanath Bhatta, Kavi-vallabha by Kamadeva, Siddhanta-manjari by Krishnananda, Tattva-prakashika by Gopal Mishra, Chidananda-keli-vilasa by Gaudapada and so on.

There are more than forty seven commentaries on the Devi-mahatmya like, Anvayartha-prakashika by Ekanath Bhatta, Kavi-vallabha by Kamadeva, Siddhanta-manjari by Krishnananda, Tattva-prakashika by Gopal Mishra, Chidananda-keli-vilasa by Gaudapada and so on.

Figure 2 - Nava-Durga in Manuscript  

Figure 2 - Nava-Durga in Manuscript  

'''STRUCTURE'''

=== '''STRUCTURE''' ===

 

The Devi-mahatmya has thirteen adhyayas or chapters divided into three Charitras or major sections devoted to the exposition of the greatness of the three aspects of the Devi which are as follows:

The Devi-mahatmya has thirteen adhyayas or chapters divided into three Charitras or major sections devoted to the exposition of the greatness of the three aspects of the Devi which are as follows:

v  '''PRATHAMA-CHARITRA''': Maha-kali.  

==== '''PRATHAMA-CHARITRA''': Maha-kali. ====

 

Chapter 1 – where the demons Madhu and Kaitabha are slayed (Madhu-kaitabha-vadha). On a subtler level, Madhu and Kaitabha are the Avarana (Concealing power) and Vikshepa (Projection) aspects of Avidya in Vedanta and also Rajas and Tamas guna according to the Samkhya terminology.

Chapter 1 – where the demons Madhu and Kaitabha are slayed (Madhu-kaitabha-vadha). On a subtler level, Madhu and Kaitabha are the Avarana (Concealing power) and Vikshepa (Projection) aspects of Avidya in Vedanta and also Rajas and Tamas guna according to the Samkhya terminology.

Mother Kali has four hands bearing sword and skull in two left hands and the other two right hands bestow boons and fearlessness on the devotees. Thus, she is both peace and combat simultaneously. She wears a garland of fifty skulls which are actually the fifty alphabets of Sanskrit. So, the skull-garland is the symbol of powerful mantras. She has three eyes i.e. Moon, Sun and Fire, through which she destroys darkness and can perceive the past, present and future. Her red tongue implies the active Rajo-guna and white teeth are the symbol of placid Sattva-guna. So, the act of biting her tongue with her white teeth suggests that the practitioner should keep his Rajo-guna in check with the help of the Sattva-guna.   

Mother Kali has four hands bearing sword and skull in two left hands and the other two right hands bestow boons and fearlessness on the devotees. Thus, she is both peace and combat simultaneously. She wears a garland of fifty skulls which are actually the fifty alphabets of Sanskrit. So, the skull-garland is the symbol of powerful mantras. She has three eyes i.e. Moon, Sun and Fire, through which she destroys darkness and can perceive the past, present and future. Her red tongue implies the active Rajo-guna and white teeth are the symbol of placid Sattva-guna. So, the act of biting her tongue with her white teeth suggests that the practitioner should keep his Rajo-guna in check with the help of the Sattva-guna.   

 

==== '''MADHYAMA-CHARITRA''': Maha-laksmi: Chapters 2, 3 and 4. ====

v  '''MADHYAMA-CHARITRA''': Maha-laksmi: Chapters 2, 3 and 4.

 

Chapter Two – Mahishasura-sainya-vadha – Slaughter of the armies of Mahishasura

Chapter Two – Mahishasura-sainya-vadha – Slaughter of the armies of Mahishasura

Chapter Four – Shakradi-stuti – Praises by Sakra and others. Maha-lakshmi is worshipped as Durga in autumn (mid September to mid November).

Chapter Four – Shakradi-stuti – Praises by Sakra and others. Maha-lakshmi is worshipped as Durga in autumn (mid September to mid November).

 

==== '''UTTAMA-CHARITRA:''' Maha-sarasvati: Chapters 5 to 13. ====

v  '''UTTAMA-CHARITRA:''' Maha-sarasvati: Chapters 5 to 13.

 

Chapter Five – Devi-duta-samvada – Devi’s conversation with the messenger

Chapter Five – Devi-duta-samvada – Devi’s conversation with the messenger

|

|

|}

|}

The first section starts with the story of a king, Suratha by name, and the merchant Samadhi, both of whom had been deprived of their wealth and possessions by their own near and dear ones. They met at the hermitage of the sage Sumedhas, to where they had come, seeking peace. After hearing from each other about the tragedies that had struck them, they approached the sage Sumedhas, with the question as to why they were still mentally attached to their possessions and their relatives even though the latter had deliberately wronged them. In his long reply, the sage described this blind attachment and infatuation as the direct result of the power of moha or maya, the spell cast by the Devi on all the living beings. When their curiosity to know more was aroused, the Sage started describing in detail, the stories related to her.

The first section starts with the story of a king, Suratha by name, and the merchant Samadhi, both of whom had been deprived of their wealth and possessions by their own near and dear ones. They met at the hermitage of the sage Sumedhas, to where they had come, seeking peace. After hearing from each other about the tragedies that had struck them, they approached the sage Sumedhas, with the question as to why they were still mentally attached to their possessions and their relatives even though the latter had deliberately wronged them. In his long reply, the sage described this blind attachment and infatuation as the direct result of the power of moha or maya, the spell cast by the Devi on all the living beings. When their curiosity to know more was aroused, the Sage started describing in detail, the stories related to her.

The first story concerns the Devi as Yoga-nidra. At the end of a kalpa (cycle of creation) Narayana was in deep sleep. Using this opportunity, two demons Madhu and Kaitabha—tried to attack and kill Brahma (the creator, seated on the navel-lotus of Narayana). Brahma prayed to Yoga-nidra (an aspect of Kali), to come out of Narayana so that he could wake up. She obliged, appeared before him and then disappeared. Narayana then killed the demons and rescued Brahma. With this ends the Prathama-charitra or the first section.

The first story concerns the Devi as Yoga-nidra. At the end of a kalpa (cycle of creation) Narayana was in deep sleep. Using this opportunity, two demons Madhu and Kaitabha—tried to attack and kill Brahma (the creator, seated on the navel-lotus of Narayana). Brahma prayed to Yoga-nidra (an aspect of Kali), to come out of Narayana so that he could wake up. She obliged, appeared before him and then disappeared. Narayana then killed the demons and rescued Brahma. With this ends the Prathama-charitra or the first section.

The second section known as the Madhyama-caritra contains the story of Mahishasura, the king of the asuras or demons. He had usurped the kingdom of heaven and driven away all the Gods including Indra. Then these Gods under the leadership of Brahma came to Vishnu and Shiva and recounted their tale of woe. As the two Gods got angry, and a brilliant light emerged from their faces, the energies of all the others too emerged similarly out of them, merging into one huge mass of brilliant blazing light and power, which took the form of the Goddess Durga. As all the Gods equipped her with their respective weapons, she went to Mahishasura, challenged him for fight and ultimately killed him. The heavenly region was restored to the Gods. The Devi Durga promised to come to the rescue of the Gods whenever they called upon her for help. Thus ends the second section.

The second section known as the Madhyama-caritra contains the story of Mahishasura, the king of the asuras or demons. He had usurped the kingdom of heaven and driven away all the Gods including Indra. Then these Gods under the leadership of Brahma came to Vishnu and Shiva and recounted their tale of woe. As the two Gods got angry, and a brilliant light emerged from their faces, the energies of all the others too emerged similarly out of them, merging into one huge mass of brilliant blazing light and power, which took the form of the Goddess Durga. As all the Gods equipped her with their respective weapons, she went to Mahishasura, challenged him for fight and ultimately killed him. The heavenly region was restored to the Gods. The Devi Durga promised to come to the rescue of the Gods whenever they called upon her for help. Thus ends the second section.

The last section called the Uttama-charitra begins with the outrageous misdeeds of the demon brothers, Shumbha and Nishumbha, who too, like Mahishasura, had forcibly occupied the heavenly regions and driven away the Gods. Remembering the promise given by the Devi, the Gods prayed to her. She manifested herself as Kausiki Durga, of bewitching beauty and started roaming about the Himalayan region. She was noticed by two servants of Shumbha who informed him about her presence in his kingdom, stressing her captivating beauty. When Shumbha sent messengers to her with a proposal for marriage, she informed them about her vow, taken out of ignorance, to marry only him who will conquer her in combat! All attempts by Shumbha’s men, including several generals of his armed forces, to capture her, dead or alive, ended in total disaster. The Devi, with her emanations like Brahmani, Narayani, Kaumari and others, successfully killed all the demons like Chanda, Munda and Raktabija. Finally, after withdrawing them into herself, she despatched both Nishumbha and Sumbha, to the world of Yama, the God of death, thereby ridding the world, of a great terror.

The last section called the Uttama-charitra begins with the outrageous misdeeds of the demon brothers, Shumbha and Nishumbha, who too, like Mahishasura, had forcibly occupied the heavenly regions and driven away the Gods. Remembering the promise given by the Devi, the Gods prayed to her. She manifested herself as Kausiki Durga, of bewitching beauty and started roaming about the Himalayan region. She was noticed by two servants of Shumbha who informed him about her presence in his kingdom, stressing her captivating beauty. When Shumbha sent messengers to her with a proposal for marriage, she informed them about her vow, taken out of ignorance, to marry only him who will conquer her in combat! All attempts by Shumbha’s men, including several generals of his armed forces, to capture her, dead or alive, ended in total disaster. The Devi, with her emanations like Brahmani, Narayani, Kaumari and others, successfully killed all the demons like Chanda, Munda and Raktabija. Finally, after withdrawing them into herself, she despatched both Nishumbha and Sumbha, to the world of Yama, the God of death, thereby ridding the world, of a great terror.

After listening to these exploits of the Devi and learning from the Sage Sumedhas the methods of worshipping her to get her grace, Suratha and Samadhi practiced severe austerities for three years. They got her vision and obtained, through her grace, what they wanted. Suratha got back his kingdom whereas Samadhi succeeded in attaining Supreme Knowledge for which alone he had hankered.

After listening to these exploits of the Devi and learning from the Sage Sumedhas the methods of worshipping her to get her grace, Suratha and Samadhi practiced severe austerities for three years. They got her vision and obtained, through her grace, what they wanted. Suratha got back his kingdom whereas Samadhi succeeded in attaining Supreme Knowledge for which alone he had hankered.

4.     Hymn by all the Gods, after Shumbha and Nishumbha were killed – Chapter 11, verses 1-35. This hymn is the famous Narayani-stuti.

4.     Hymn by all the Gods, after Shumbha and Nishumbha were killed – Chapter 11, verses 1-35. This hymn is the famous Narayani-stuti.

 

=== '''IN RITUAL''' ===

'''IN RITUAL'''

 

The entire Devi-mahatmya is considered as a mantra and a ritual recitation of the same is recommended for the fulfilment of one’s desires. Such a ritual recitation normally consists of the following procedure:  

The entire Devi-mahatmya is considered as a mantra and a ritual recitation of the same is recommended for the fulfilment of one’s desires. Such a ritual recitation normally consists of the following procedure:  

v  Achamana (ceremonial sipping of water before beginning any religious rite),  

* Achamana (ceremonial sipping of water before beginning any religious rite),  

 

 

 

 

 

 

 

 

 

 

 

 

 

v  the Rahasya-traya (Pradhanika, Vaikrtika and Murti Rahasyas),  

* Sankalpa (religious resolve stating the details of the ritual),

* Dipa-sthapana (lighting a lamp and offering a simple worship to it, considering as a representation of the Devi),  

v  Kshama-prarthana (recital of the Aparadha-kshamapana-stotra – hymn for forgiveness for omissions and wrong reading).

* Kshama-prarthana (recital of the Aparadha-kshamapana-stotra – hymn for forgiveness for omissions and wrong reading).

There are several modes of chanting for specific purposes like freedom from diseases, attaining wealth or position and so on. Recitations called '''Shata-chandi''' (ten brahmins reciting it for four days—once on the first day, twice on the second day, thrice on the third day and four times on the fourth day) and '''Sahasra-chandi''' (with one hundred Brahmins, the procedure being similar) are forms of congregational worship and are done for the welfare of the society. A thousand Brahmins are to be fed and one hundred cows are to be donated. In all these rites, homa (offering of oblations into a duly consecrated fire) is also done.  

There are several modes of chanting for specific purposes like freedom from diseases, attaining wealth or position and so on. Recitations called '''Shata-chandi''' (ten brahmins reciting it for four days—once on the first day, twice on the second day, thrice on the third day and four times on the fourth day) and '''Sahasra-chandi''' (with one hundred Brahmins, the procedure being similar) are forms of congregational worship and are done for the welfare of the society. A thousand Brahmins are to be fed and one hundred cows are to be donated. In all these rites, homa (offering of oblations into a duly consecrated fire) is also done.  

 

== '''ICONOGRAPHY''' ==

'''ICONOGRAPHY'''

 

The study of early relief of the deity indicates the developmental aspect of the iconic-motif. In Orissa, we find reflection of evolution of all types of Durga and Mahishamardini icons in sculptural representations. We find her images having two to twenty arms with various ayudhas (weapons) ranging from very early time to modern period in Orissa. From sixth to seventh century onwards, we find her representation in most Shiva and Shakta temples. The standing posture of the Goddess corresponds to her Devi-mahatmya description. We find different representations of the fighting scene in the Mahabalipuran and Ellora panels.  

The study of early relief of the deity indicates the developmental aspect of the iconic-motif. In Orissa, we find reflection of evolution of all types of Durga and Mahishamardini icons in sculptural representations. We find her images having two to twenty arms with various ayudhas (weapons) ranging from very early time to modern period in Orissa. From sixth to seventh century onwards, we find her representation in most Shiva and Shakta temples. The standing posture of the Goddess corresponds to her Devi-mahatmya description. We find different representations of the fighting scene in the Mahabalipuran and Ellora panels.  

Durga worship was popular in India from the age of Ramayana, Mahabharata and Pauranas. Durga puja in idol was prevalent in present Bangladesh since tenth or eleventh century AD. Krishnananda Agamavagisha (1485-1533) is believed to have conceived and introduced through divine inspiration the image of Kali as she is now worshipped in Bengal.

Durga worship was popular in India from the age of Ramayana, Mahabharata and Pauranas. Durga puja in idol was prevalent in present Bangladesh since tenth or eleventh century AD. Krishnananda Agamavagisha (1485-1533) is believed to have conceived and introduced through divine inspiration the image of Kali as she is now worshipped in Bengal.

 

=== '''Two-armed''' ===

'''Two-armed'''

 

Miniature stone-reliefs of two armed Durga engaged in war with Mahisasura un-earthed from Bhita by Sir John Marshal are attributed to the Gupta period. Bhumara Shiva temple in Madhya Pradesh has two and four armed Mahisha-mardini of sixth century AD.

Miniature stone-reliefs of two armed Durga engaged in war with Mahisasura un-earthed from Bhita by Sir John Marshal are attributed to the Gupta period. Bhumara Shiva temple in Madhya Pradesh has two and four armed Mahisha-mardini of sixth century AD.

'''Four-armed'''

=== '''Four-armed''' ===

 

A four armed brass image containing an inscription of the time of Meruvarman ruler of Chamba (8 Century A.D.) is excellent in composition.

A four armed brass image containing an inscription of the time of Meruvarman ruler of Chamba (8 Century A.D.) is excellent in composition.

'''Six-armed'''

=== '''Six-armed''' ===

 

Rajshahi Varendra Research Society has a six-armed Durga statue.

Rajshahi Varendra Research Society has a six-armed Durga statue.

'''Eight-armed'''

=== '''Eight-armed''' ===

 

The Ellora specimen shows the eight armed Devi engaged in war riding her mount lion. The Haripur image of Mayurbhanj, Orissa also shows the eight armed Durga in a more aggressive pose. Mahabalipuram has an eight armed Mahisha-mardini of seventh century AD.

The Ellora specimen shows the eight armed Devi engaged in war riding her mount lion. The Haripur image of Mayurbhanj, Orissa also shows the eight armed Durga in a more aggressive pose. Mahabalipuram has an eight armed Mahisha-mardini of seventh century AD.

'''Ten-armed'''  

=== '''Ten-armed''' ===

 

Nagod in Madhya Pradesh and Badami in Bijapur, Bombay have the ten-armed Mahisha-mardini.  

Nagod in Madhya Pradesh and Badami in Bijapur, Bombay have the ten-armed Mahisha-mardini.  

'''Twelve-armed'''

=== '''Twelve-armed''' ===

 

A metallic Devi statue at Keshapur in Dinajpur has twelve arms. Udayagiri caves have twelve-armed Mahisha-mardini since fourth century. We find similar representation of twelve armed deity in an earlier relief carved on the facade of Chandragupta Cave at Udayagiri (Bhilsa, Madhya Pradesh)<ref>C.B. Patel (2008), ''Mahisamardini Durga-Antiquity and Iconography,'' Orissa Review: Orissa.</ref>.

A metallic Devi statue at Keshapur in Dinajpur has twelve arms. Udayagiri caves have twelve-armed Mahisha-mardini since fourth century. We find similar representation of twelve armed deity in an earlier relief carved on the facade of Chandragupta Cave at Udayagiri (Bhilsa, Madhya Pradesh).  

 

 

 

'''SAPTA-SHLOKI CHANDI'''

The essence of the Durga Saptashati (700 verses) can be condensed in the following seven verses.

The essence of the Durga Saptashati (700 verses) can be condensed in the following seven verses.

v  महामाया हरेश्चैषा तया सम्मोह्यते जगत् । ज्ञानिनामपि चेतांसि देवी भगवती हि सा ॥ '''(1.55)'''

<blockquote>महामाया हरेश्चैषा तया सम्मोह्यते जगत् । ज्ञानिनामपि चेतांसि देवी भगवती हि सा ॥ '''(1.55)'''</blockquote>mahāmāyā hareścaiṣā tayā sammohyate jagat । jñānināmapi cetāṁsi devī bhagavatī hi sā ॥

This Mahamaya is the Yoganidra (the tamasic power) of Vishnu, the Lord of the world. The world is deluded by her and forcibly drawing the minds of even the wise, she, the Bhagavati, throws them into delusion.

This Mahamaya is the Yoganidra (the tamasic power) of Vishnu, the Lord of the world. The world is deluded by her and forcibly drawing the minds of even the wise, she, the Bhagavati, throws them into delusion.<blockquote>दुर्गे स्मृता हरसि भीतिमशेषजन्तोः''',''' स्वस्थैः स्मृता मतिमतीव शुभां ददासि ।

v  दुर्गे स्मृता हरसि भीतिमशेषजन्तोः''',''' स्वस्थैः स्मृता मतिमतीव शुभां ददासि ।

'''     ''' दारिद्र्यदुःखभयहारिणि का त्वदन्या''',''' सर्वोपकारकरणाय सदार्द्रचित्ता ॥ '''(4.17)'''</blockquote>When called to mind in a difficult situation, you remove fear for every person. When called upon by those in happiness, you bestow a mind still further pious. Which Goddess but you, O Dispeller of poverty, pain and fear, has an ever sympathetic heart for helping everyone?<blockquote>सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥ '''(11.10)'''</blockquote>Salutation be to you, O Narayani, O you who are the good of all good, O auspicious Devi, who accomplish every object, the giver of refuge, O three-eyed Gauri!

'''          ''' दारिद्र्यदुःखभयहारिणि का त्वदन्या''',''' सर्वोपकारकरणाय सदार्द्रचित्ता ॥ '''(4.17)'''

* शरणागतदीनार्तपरित्राणपरायणे । सर्वस्यार्तिहरे देवि नारायणि नमोऽस्तु ते ॥ '''(11.12)'''

Salutation be to you, O Narayani, O you who are intent on saving the dejected and distressed that take refuge under you. O you, Devi, who remove the sufferings of all!

 

 

Salutation be to you, O Narayani, O you who are the good of all good, O auspicious Devi, who accomplish every object, the giver of refuge, O three-eyed Gauri!

 

v  सर्वस्वरूपे सर्वेशे सर्वशक्तिसमन्विते । भयेभ्यस्त्राहि नो देवि दुर्गे देवि नमोऽस्तु ते ॥ '''(11.24)'''

सर्वस्वरूपे सर्वेशे सर्वशक्तिसमन्विते । भयेभ्यस्त्राहि नो देवि दुर्गे देवि नमोऽस्तु ते ॥ '''(11.24)'''

O Queen of all, you who exist in the form of all, and possess every might, save us from error, O Devi. Salutation be to you, Devi Durga!

O Queen of all, you who exist in the form of all, and possess every might, save us from error, O Devi. Salutation be to you, Devi Durga!

''The Cultural Heritage of India'', Volume IV – The Religions, Haridas Bhattacharyya, The Ramakrishna Mission Institute of Culture, Calcutta, 2001.

''The Cultural Heritage of India'', Volume IV – The Religions, Haridas Bhattacharyya, The Ramakrishna Mission Institute of Culture, Calcutta, 2001.