Matriks ( Skt. मातृका , mātṝkā IAST , literally “referring to the mother” [1] ) - in Hinduism, the generic name of divine mothers. They are represented by the spouses of the gods , who are Vishnu , Shiva , Brahma and other deities. Although in Hinduism there is a large or even indefinite number of “mothers”, the most respected is the “saptamatika” ( Skt. सप्तमातृका , Saptamātr̥kā IAST ) or seven divine mothers [2] .
| Matrika | |
|---|---|
| Mātr̥kā IAST | |
 One of the seven divine mothers (Maheshwari), VI century. From the collection of the Metropolitan Museum of Art ( New York ). | |
| The energy ( shakti ) of the divine spouse | |
| Mythology | Hinduism , Shaktism |
| Floor | female |
| Spouse | gods of the pantheon of hinduism |
The expression “matrix” or “saptamatrix” as a whole can denote the cult of the mother goddess, which existed even during the period of Indian civilization , as evidenced by the surviving signet with the image of a naked goddess standing between the branches of the fig tree . At the feet of the goddess are seven female servants. It is believed that the group of goddesses is of non-Aryan origin. Until the post-Vedic period, they were considered nameless. According to popular belief, goddesses have a dangerous and unpredictable character, and are also able to send diseases and misfortunes. In medieval Hinduism they become the personification of the power (shakti) of various deities [3] .
In Hinduism, Brahmani, Maheshwari, Kaumari, Vaishnavi, Varaha, Indrani ( Aindri ) and Kamundi (Chamunda) are usually mentioned and portrayed, although there are other names of goddesses. Sometimes not seven, but eight goddesses are mentioned (“ashtamatrica”), all of these, and also Mahalakshmi , belong to them [4] . The worship of the saptamatrica is widespread in South India , while the ashtamatrica is revered in Nepal [5] . They are often portrayed together in this order, along with Virabhadra and Ganesha , playing the role of their guards [6] . During worship, the order in which the matrices are listed may vary depending on the purpose of the ritual. For example, to defeat the enemy, Brahmani is placed in the center, and to increase the offspring - Kamundi [7] .
The first mention of the saptamatrix is found in Markandeya Purana , which dates from 400 to 600 years. Descriptions of the goddesses are also given in other Puranas, such as Varaha Purana or Matsya Purana . The cult of the matrices gained popularity by the 7th century and entered the life of temples dedicated to the Goddess ( Durga ) and Shiva from the 9th century [8] . In modern Hinduism, the cult of the matrix plays the primary role in shaktism and tantrism [9] . In particular, in Shaktism they are characterized as assistants to the great Shakti-Devi in the fight against demons. In the “ Devi Mahatmya” they are described as a detachment of warriors produced by the gods to help Devi in her struggle with the asuras [3] .
Content
Spouses of the Gods [10]
| Form | Description |
|---|---|
| Name : Brahmani ( Brahmāṇī, Brāhmī )
| |
| Name : Chamunda ( Cāṃuṇḍā )
| |
| Name : Maheshwari ( Māheśvarī )
| |
| Name : Kaumarī ( Kaumarī )
| |
| Name : Vaishnavi ( Vaiṣṇavī )
| |
| Name : Varahi ( Vārāhī )
| |
| Name : Narasimha ( Nārasiṃhī )
| |
| Name : Indrani ( Indrāṇī, Aindrī )
| |
| Name : Vinayaki ( Vināyakī )
|
Mythology
Various Puranic stories related to the origin of the matrices have been preserved. All of them belong to the tradition of Shaivism . According to one myth, matrices are the embodiment of the energies (shakti) of Shiva, Indra and other deities. Initially, they were born for battle and victory over demonic forces. However, in the sculptural images they are presented as benevolent, compassionate and refined goddesses. It is believed that the saptamatrika is primarily associated with Shiva. Their names indicate that they are born from Brahma, Vishnu and other deities. In one of the stories, Shiva and Vishnu decided to unite in order to defeat Asura Andhak. However, he seemed invincible: from every drop of his blood falling to the ground, a new demon arose. Then Shiva and Vishnu created seven mothers to help them. The goddesses drank drops of blood, not allowing them to touch the ground, which allowed Shiva to kill Andhaka [11] .
Matsya Purana sets forth an alternative version of the same story. When Shiva hit the demon of Andhakasur with an arrow, blood poured from his body, from which thousands of Andhakasurs were born. From their wounds, new demons appeared and multiplied. To fight them, Shiva created divine mothers to drink their blood. The goddesses instilled horror and awe in the asuras, but there was so much blood that they could not cope with it, and the demons began to multiply again. Shiva turned to Vishnu for help, who created the goddess Sushka Revati, who in one instant consumed the blood of all asuras, as a result of which they were completely destroyed [12] .
| External video files | |
|---|---|
| Ashtamatrix: Durga with matrices defeats asura | |
| 2018 movie theater and dance production | |
Another story about the birth of a saptamatrix is set forth in Vamana Purana . There was a battle between the gods and the asuras. When the asuras of Chanda and Mund were killed, the demon Raktabija appeared on the battlefield along with chariots, elephants, cavalry and infantry. Seeing the army of demons, Kaushiki and Kali made a loud sound and Maheshwari and Brahmani appeared from their mouths. Out of the Maheshwari lion came Kaumari, who was sitting on a peacock and holding a spear. A Vaishnavi was born from the hand of Kaumari, she was sitting on Garuda and clutching a conch, a disk, a mace, a sword, a bow, and arrows. Varahi came out of her on horseback on Shesha-naga (snake), and from her heart appeared Narasimhini with sharp claws. From her feet, in turn, Chamunda arose [12] .
The symbolism of the saptamatrica is closely related to the sacred number seven. In Vedic times, it was believed that the universe consists of seven worlds with seven guardians. The chariot of the solar god Surya is also set in motion by a team of seven horses. The number seven was taken as the basic unit of measurement of life. However, the Varaha Purana says that there are only eight divine mothers and the goddess Yogishwari belongs to them. This is the name of the energy of Shiva, arising from the flame coming out of his mouth. Some Puranas claim that matrices are eight negative mental qualities, and the matrices themselves represent angry forces. In particular, Yogishvari is passion, Maheshvari is anger, Vaishnavi is greed, Brahmani is pride, Kaumari is ignorance, Indrani is picky, Chamunda is deceit [12] .
In addition, the saptamatrix is associated with the wives of the seven rishis ( saptarishi ). In this case, six of them are considered the mother of Skanda and have a good character. However, the Mahabharata contains the story that the matrix goddesses (their number is uncertain) were sent by Indra to the place of birth of Skanda in order to kill him. But at the sight of the child, maternal feelings awoke in them, and they asked him to accept them as mothers. Such myths reflect the process of incorporating non-Aryan goddesses into the pantheon of Hinduism and the integration of indigenous deities who become protectors of dharma [13] .
Iconography Matrix
| External video files | |
|---|---|
| Seven mothers or saptamatrika in ancient Indian sculpture | |
| educational lecture in English | |
In the images, matrices have similar faces and bodies, but differ in mounts . They are represented as sitting or standing, often surrounded by children who are next to them or sitting on their knees. Sometimes next to the matrices you can see the image of the god Ganesha . The mounts of Brahmani are the swan , Maheshwari the Nandi , Kaumari the peacock , Vaishnavi the Garuda , Varaha the bull , Indrani the elephant and Kamundi the dead body or owl . They are depicted with several hands, the number of which varies from two to twelve. Some of the goddesses are represented by three to five images with a different set of attributes in their hands. As a rule, they hold in their hands the same attributes as their masculine forms. Vaishnavi holds Sudarsana , Kaumodaki , shankha and lotus flower . Indrani carries with him the thunderbolt of Indra , etc. Canonical images of seven mothers can be seen in the temples of Galagnath, Ravanaphadi and Virupakshi in Aihol, as well as in cave No. 14 of the Ellora complex [14] .
The first sculptural images of divine mothers date back to the 3rd century BC. These are solitary statues representing the nameless goddess. Subsequently, they become part of the pantheon of Hinduism and integrate with popular male deities. At the beginning of the first millennium AD, matrices are united in a group cult represented by a saptamatika or seven goddesses [15] .
During the Gandhar period (from the 1st to the 5th centuries), the iconographic image of the matrix was established. Sculptors tried as much as possible to bring the image of divine mothers closer to the human image. Their appearance demonstrates aesthetic maturity and divine charm. It is believed that during the Gandhar period, matrices began to be depicted together with Ganesha [15] .
The Gupt period (from the 4th to 7th centuries) accounts for the “golden age” of sculptural art. The image of the matrix reaches its heyday. The stone images of the divine mothers are superbly carved with stunning elegance. Their distinctive feature is the hair curly over the dress, which is emphasized by lines of clothing that repeat the shape of the female body. The faces of the matrices speak of their serene state of mind. During the Gupt period, stylistic changes took place: female faces became more oval, bodies were more slender, and draperies became more transparent. The upper eyelid increased in size, as a result of which large eyes became like lotuses. Faces became sensual thanks to full lips [15] .
During the periods of Gurdjar-Pratihara and Chandella (from the VIII to XII century), the sculptures of the matrices became even more expressive. The peak of Chandell's art occurred in the 950s. The best images of the matrices are presented in the temples of Devi Jagadamba in Kajuraho ( ) in honor of Parvati and Chitragupta Vaman ( Chitragupta Vamana ) in honor of the god of the sun ( ). Although the cult of the matrices reaches its climax, the quality of the fine arts begins to decline. Artistic depth and expressiveness are inferior to the fullness of religious attributes [15] .
Matrix iconography development
During the Chalukya period (from the 11th to the 13th century), images of the matrices were created by the masters of Gujarat and western Rajasthan . Divine mothers are richly decorated: precious jewelry, a wide necklace around the neck, a sacred thread and earring-rims for the ears are the hallmarks of the Chalukya period. In the same period, the matrices began to be completely identified with the cult of Shiva. This is evidenced by the image of the saptamatrix surrounded by Shiva and Ganesha in the temple caves of Ellora . Each matrix received its own mount (wahana) [16] .
During the periods of the Pallavas , Chola, and Pandya (from the 7th to the 13th centuries), the images of the matrices came under strong South Indian influence. They acquired slender forms and elongated embossed faces. Masters began to pay minimal attention to clothing. The focus is shifted to external jewelry: a high mukut (crown) increased the height of the image, and wide bracelets focus on the legs and arms [16] .
The images of divine mothers are an invaluable treasure of Indian fine art. The sculptures present the matrix as caring and attentive mothers who contrast with frightening and ferocious mythical stories. In some compositions, goddesses are provided with children who are either standing nearby or sitting on their knees. Their faces radiate beauty, peace and awe, although the warlike attributes of the goddesses persist. Contrast is a unique feature of the sculptural images of the saptamatrix. Angry and warlike forms in the iconographic tradition of the matrix underwent a radical transformation. Indian masters were based on the belief that art should be beautiful and inspiring, as a result of which terrible images turned into charming and attractive figures. In addition, the sculptors were guided by the desires of their patron customers, Rajas and local rulers. Each of them wanted to leave evidence of sophistication and splendor. The only exception was the two matrices, which always had a hint of ferocity and horror - the bony Chamund and Varaha with the face of a wild boar [16] .
Matrix Worship
Fragmentary information has been preserved on the nature of matrix worship. Professor Leslie Orr of Concordia University (Canada) believes that rituals in honor of the saptamatrix first appeared in South India in the VIII century. Temples were dedicated to them, but subsequently the role of the goddesses decreased to the “parivara -devatās ” of Shiva or his divine environment, that is, companions or retinues. Their images moved from sanctuaries to corners and onto the walls of temple complexes. Starting from the 10th century, matrices are considered as custodians and their independent cult was preserved only in small village shrines. Currently, the saptamatika is worshiped as saptakanyakas ( Skt . साप्तकन्यका, sāpta-kanyakā IAST , "seven maidens") in the South Indian temples of Shiva. Their images approached the heavenly nymphs or apsaras . However, in some places the cult of the matrix is still flourishing. In particular, in the Chelliamman Koil temple, Selliyamman temple ) in the village of Alambakkam ( Tiruchirapalli , Tamil Nadu , ). Once the temple was built in honor of the saptamatrix, but subsequently in its place the temple of Durga appeared. The famous Sapthamathruka Temple ( Sapthamathruka Temple, ) in Mysore , dedicated to the seven divine mothers [17] .
| External video files | |
|---|---|
| Matrix Worship Prep Video | |
| 16 piles of boiled rice with nuts are identified with matrices | |
In modern India, sanctuary shrines are located in non-residential areas. Usually their shrines are set up near lakes or rivers. The village images of the matrices are symbolic, they can be seven dark stones painted red or wrapped in a red sari . Popular rumor attributes matrices to an unbalanced character. It is believed that they can harm pregnant women and newborns if women do not seduce them with wedding dresses and prayers. Well-known author of books on Indian mythology Devdutt Pattanaik notes: “the cult of seven mothers is found throughout India ... They are worshiped by pregnant women and nursing mothers. When the goddesses are angry, they are barren and helpless, and newborns have diseases. When they are pacified, they endow children with health and happiness ” [18] . Saptamatrix is worshiped by women who have problems conceiving, as well as pregnant women who are afraid of miscarriages, and mothers of sick children. Rituals are held on the day of the new moon and are dedicated, as a rule, to 64 yogis. The goddesses are represented by symbolic heaps of rice flour or areca nuts (fruits of the areca palm). The goddesses are offered offerings in the form of fruits and flowers, as well as reading mantras [19] . Matuja puja can be an integral part of a large puja for the Diwali festival, symbolizing the victory of good over evil [20] . In addition, the veneration of 16 matrices became one of the elements of the puja in honor of the goddess Durga , since matrices are considered its manifestation [21] .
Ritual Matrix Worship
Archaic rituals are deeply rooted in the Hindu tradition. In rituals, Ganesha is sometimes worshiped with two matrices, and Skanda with six. Matrixes are perceived as inseparable companions of Shiva and his auxiliary energies. In general, in Hinduism, women do not have independence from men. Group cults such as matrices, mahavidis, yoginis, and dakinis are an exception. They have occupied a special place in the Indian tradition. Orthodox Hinduism usually distances itself from them, considering female cults to be tantric [22] .
Notes
- ↑ Monier, Williams (1872). Sanskrit-English Dictionary, p. 765.
- ↑ Klostermaier, 2003 , p. 116.
- ↑ 1 2 Dubyansky, 1996 , p. 393.
- ↑ Mazurina, 1996 , p. 203-206.
- ↑ Hoek B. van den. Kathmandu as a sacrificial arena / Nas P. (ed.). - Urban symbolism. - Leiden: EJ Brill, 1993 .-- S. 362.
- ↑ Varma S. Gudimetta yields sculptures of Kakatiya era . The Hindu (09/03/2016).
- ↑ Ulziferov, 2003 , p. 439-440.
- ↑ Wangu, 2003 , p. 187.
- ↑ Wangu, 2003 , p. 41.
- ↑ Goswami, Gupta, Jha, 2005 , pp. 3-6.
- ↑ Goswami, Gupta, Jha, 2005 , p. one.
- ↑ 1 2 3 Goswami, Gupta, Jha, 2005 , p. 2.
- ↑ Dubyansky, 1996 , p. 394.
- ↑ Ulziferov, 2005 , p. 690
- ↑ 1 2 3 4 Goswami, Gupta, Jha, 2005 , p. 6.
- ↑ 1 2 3 Goswami, Gupta, Jha, 2005 , p. 7.
- ↑ Orr L. Gods and Worshippers on South Indian sacred ground / Heitzman J. and Schenkluhn W. (eds.). - The world in the year 1000. - Lanham: University Press of America, 2004 .-- 338 p. - P. 245. - ISBN 0-7618-2561-4 .
- ↑ Pattanaik, 2000 , p. 131.
- ↑ Underhill M. The Hindu religious year. - London, New York: H. Milford, Oxford University Press, 1921. - P. 110. - 194 p. - ISBN 81-206-0523-3 .
- ↑ Diwali 2018: Laxmi Puja Vidhi, Muhurat, Time, Samagri, Mantra // The Indian Express. - 2018. - November.
- ↑ Vardhan S. Devi Durga: The symbolism of feminine strength (English) // The Indian Express. - 2018 .-- April.
- ↑ Devdutt P. How to spot a lesbian in sacred Indian art . Scroll (01/22/2017).
Literature
- Dubyansky A. Saptamatrika / Under the general. ed. M.F. Albedil and A.M. Dubyansky. - Hinduism. Jainism. Sikhism: Dictionary. - M .: Republic , 1996 .-- S. 393-394.
- Mazurina V. Hinduism in Nepal / Under the general. ed. M.F. Albedil and A.M. Dubyansky. - Hinduism. Jainism. Sikhism: Dictionary. - M .: Republic , 1996. - S. 203-206.
- Ultsiferov O. G. India: Linguistic and Regional Dictionary. - M .: Rus. Yaz.-Media, 2003 .-- 581 p. - ISBN 5957600105 .
- Ultsiferov O. G. Cultural Heritage of India: Mythology, Religion, Philosophy, Literature, Art, Rites and Customs. - M .: East-West: AST, 2005 .-- 875 p. - ISBN 5-17-028863-8 .
- Amazzone L., Singh R., Kinsley D. The Ashta Matrikas: mandalic mothers of Bhaktapur, Nepal. - Planet Earth & cultural understanding. - New Delhi: Newcastle Cambridge Scholars, 2010 .-- S. 143-163.
- Aryan KC The little goddesses (mātrikās). - New Delhi: Rekha Prokashan, 1980.
- Chakravarty D. The Antiquity and The Evolution of The Saptamātrikā Worship in Bengal // Proceedings of the Indian History Congress. - 1968. - Vol. 30 . - Vol. 30. - P. 129–138.
- Goswami M., Gupta I., Jha P. Sapta Matrikas in Indian art and their significance in Indian sculpture and ethos: a critical study. - Roorkee: Anistoriton, 2005.
- Klostermaier K. A Concise Encyclopedia of Hinduism. - Oxford: Oneworld Publications, 2003.
- Mukherjee S. Folk deities and Matrika cult of South West Bengal. - Kolkata: RN Bhattacharya, 2004.
- Pattanaik D. The Goddess in India: The Five Faces of the Eternal Feminine. - Rochester, Vermont: Inner Traditions, 2000.
- Wangu M. Images of Indian goddesses: myths, meanings, and models. - New Delhi: Abhinav Publications, 2003.