CHAPTER-22 Vedic Origin of Goddesses: Some Aspects
From the time of Vedas, goddesses played a very important role in the life of the people. As powers of creation, protection, and dissolution, their presence was felt always. Scholars have already pointed out the role of some of these goddesses like Sarasvati, Uṣas, Aditi and others in Vedic times. It is proposed in this chapter to focus attention on how some sculptural portrayals on the walls of most of the temples, especially the feminine powers, are rooted in the Vedic hymns. (F. 81-104)Dvāra Śaktis (F. 85)In most of the classical temples with sculptural portrayal, the entrance to the sanctums are seen flanked by two feminine figures, which are generally identified with Gangā and Yamuna. Beyond them are seen Nandi and Mahākāla as door keepers in Śiva temples and Jaya and Vijaya in Viṣṇu temples. However we find the protective power of the entrances is assigned to goddesses in the Vedas. For example, the Taittiriya Samhita (of the Kṛṣṇa Yajurveda) gives the names of gods and goddesses as Guardians of different aspects. Sūrya is invoked to protect day times, Vāyu to protect outer space, Agni, to protect earth, Yama, to protect ancestors, Goddess Sarasvati to protect men (their speech). In this list it invokes goddesses to protect the entrance.In this context the Vedas says “Devī dvārau” at the entrance is protected by Goddesses. The portrayal of goddesses at the entrances to temples is thus a Vedic tradition.ApsarasIt is known Apsaras play an important position in temple representation. Several temples portray them prominently on their wall in different directions. Apsaras are protective powers in directions and are mentioned in the heart of the Vedas. The Vedic hymn pays salutations to them. The Taittiriya veda mentions the names of these Apsaras. Along with the names of these Apsaras, the names of commanders and group heads (Senāni and Grāmanis) are also mentioned.
1.East — Puñjikasthalā, Kritasthalā
2.South — Menakā, Sahajanyā
3.West — Pramlocantī, Anumlocantī
4.North - Visvāci, Gritāci
5.Upper regions: Urvasi, Purvacitti?
अंयपुरःहरिकेशःसूर्यरश्मिःतस्यरथगृथ्त्सश्चरथौजाश्चसेनानिग्रामण्यौपुञ्जिकस्थलाचकृतस्थलाअप्सरसौयातुधानाहेतीरक्षांसिप्रहेतिअयंदक्षिणाविश्वकर्मातस्यरथस्वनश्चरथेचित्रश्चसेनानिग्रामण्यौमेनकासहजन्याचअप्सरसौदक्ष्णवःपशवोहेतिःपौरुषेयःवधःप्रहेतिःअयंपश्चात्विश्वव्यचाःतस्यरथप्रोतश्चअसमरथश्चसेनानिग्रामण्यौप्रम्लोचन्तिचअनुम्लोचन्तिचअप्सरसौसर्पाःहेतिःव्याघ्राःप्रहेतिःअयंउत्तरासंयत्वसुःतस्यसेनजित्वसुषेणश्चसेनानिग्रामण्यौविश्वाचिचघृताचिचअप्सरसौआपोहेतिःवातःप्रहेतिःअयंउपदिवाक्वसुश्चःतस्यतार्क्ष्यश्चअरिष्टनेमिश्चसेनानिग्रामण्यौऊर्वशीचपूर्वचित्तिश्चअप्सरसौविद्युत्हेतिःअवस्फूर्जन्प्रहेतिः..........Taittirīya Samhita 4.4.9These assume a level of abstraction when the Vedas says that these are made up of syllables (akṣaras).
The Vedas here says Dhātā should be established in the centre (madhyataḥ) dhātāram karoti madhyata eva tam kalpayati.AditiAditi as a Vedic Goddess is well known and has been dealt with by eminent scholars. Dr. Stella Kramrisch has written on Aditi Uttānapad?, and identified her with what is called Nude goddess - “Lajjā Gauri”. Dr Karol Bolon has a well documented book on Lajjā Gauri images. I have myself written about the concept leading to Kuṇḍalini, in my article “From Aditi to Kuṇḍalini”. It is known that Aditi is Bhū, who gave rise to Śrī, and into Mahādēvi, Mahā Lakṣmi and Maha Sarasvati. The concept of Gaja Lakshmi, seated with two elephants pouring waters over her is an extension of this concept. Ananda Coomaraswamy has shown that the two elephants pouring water from vessels over her represent Pṛthvī and I have shown earlier that same motif is found commonly for Mahā-Sarasvati and Mahādevi. I have also shown that such representations are found in sculptures all over India. But what is amazing is that this concept is also found in early Cambodian sculptures that have not been noticed so far. There are many Cambodian inscriptions that refer to the consecration of goddess Sarasvati, Lakṣmi and Durgā. There are two temples that I have recently noticed that are relevant. One is an early brick temple found in Cambodia almost bordering Champa. This birck temple which is almost in ruins, has sculptures carved in situ on the brick walls. They portray at the bottom of the pilasters the seated goddess, with her legs spread apart and from her generative organ creep up creepers emanating and ascending upwards meandering in circles. It is a remarkable portrayal that shows the concept of Aditi, in Cambodia noticed for the first time. Most of the sculptures remain worn out. But clearly this motif was represented in the pilasters, I have noticed them at least in three pilasters, and one in fairly good state of preservation.The second is an important temple in Hari-Hara-Ālaya, now called Rolous. It is a brick temple with five towers in a row, the central one dedicated to Viṣṇu in his Viśvarūpa. Another tower in the same complex has the image of Lakṣmi at the back wall of the sanctum, carved in situ on the brick wall. The sculpture is over life size in height showing its importance. On the side walls of the sanctum, is carved the image of Durgā, equal in height and magnitude as the central Lakṣmi. The other side wall also had a sculpture equal in dimension and magnitude as Lakṣmi is Durgā the other also had a goddess evidently Sarasvati, but the major part of the sculpture is gone except the leg part from which its could easily be gauged. This temple in Cambodia had all the three goddess in the sanctum, with Lakṣmi in the centre, the Durgā in the south and Sarasvati in the north in a temple dedicated Durgā, Lakṣmi and Sarasvati, that these three goddess are one thus no where so overwhelmingly represented as in this ancient temple.Some writers like Iravatham Mahadevan almost assert that there was no worship female goddesses in the Vedic period, inspite of the fact that great scholars like Anada Coomaraswamy, Stella Kramrisch and others have written about Vedic Goddesses Aditi, Sarasvati, Uṣas and other deities.I may draw attention to a Śukla Yarvedic hymns in which Aditi, Diti and Sarasvati mentioned in the midst of several other male deities like Viṣṇu, Prajāpati, Pūṣan Tvaṣṭā (verse 1292) (p. 357), indicating that feminine powers were not only worshiped but also they enjoyed equal powers with male deities.प्रजापतयेस्वाहा।चित्तंविज्ञातायअदित्यैस्वाहा।दित्यैमयैस्वाहा! दित्यैसमृद्धिकायैस्वाहा।सरस्वत्यैस्वाहा !सरस्वत्यैपावकायैस्वाहा।सरस्वत्यैवृहत्यैस्वाहा।पूष्णेस्वाहा।पूष्णेप्रपत्यायस्वाहा।त्वष्ट्रेस्वाहा।त्वष्ट्रेतुरीपायस्वाहा।त्वष्ट्रेस्वाहा।त्वष्ट्रेतुरीपायस्वाहा।त्वष्ट्रेपुरुरूपायस्वाहा।विष्णवेस्वाहाविष्णवेविभूयपायस्वाहाविष्णवेशिपिविष्टायस्वाह।The Earth is an important Goddess in the Vedic Pantheon. One of the fascinatin poem ascribed to Vaśiṣṭha says that Pṛthvī is great because she is the abode of Aditi, Devas, Gandharvas, Maṇuṣyās, Mother of all living beings, Pitaras and Aśurās. sarva bhūtānām mātā and so is called “Mahati Mahi”. She is Gāyatrī, Sāvitrī, Jagatī, Urvī, Pṛthvī, Bahulā, Viśva, Bhūtā, Katamā, Ka, Ya, Sa, Satyā, iti Amṛta.अदितिःदेवाःगन्धर्वाःमनुष्याःपितरःअसुराःतेषांसर्वभूतानांमातामेदिनीमहतीमहीसावित्रीगायत्रीजगतीउर्वीपृथ्वीबहुलाविश्वाभूताकतमाकायासासत्याइतिअमृताइतिवसिष्ठ.............Taittīrīya Aranyaka, Praśna 6, 36The doors of the yajña, are protected by a pair of Goddesses, is an oft repeated theme in the Śukla Yajurveda, Adhy 28.देवी: द्वारिइन्द्रंसङ्घातेवीड्वीर्यांअन्नवर्धयन्आवत्सेनतरूणेनकुमारेणमीवतापार्वाणंरेणुककाटंनन्दन्तंवसुवेणवसुधेयस्यव्यन्तुयज।They are called “Dvāra devis”. The entrance to the sanctum, is protected in all the temples first by these “Dvāra devis”. These “Dvara devis” are called in another verse as Apsarasदेवीद्वारौअश्विनाभिषजेन्द्रेसरस्वतीप्राणंनवीर्यंनसिद्वारःदधुःइन्द्रियम्वसुवनेवसुधेयस्यव्यन्तुयज....... Ś. Yajurveda 21 No. 49There are other dual goddesses mentioned in the Vedas like “Aho-Ratri” devis, constituting “Uṣas” and “Naktā”. They are said to follow the Vasus, Rudras, Ādityas, and Marut-gaṇas (verse. 14). Similarly two other Goddesses are said to be the bestowers of prosperity and who ward off poverty. (8 vl 15) Another pair of Goddesses are said to bestow strength and grace. (v.16).देवीउषासानक्ताइन्द्रंयजेप्रयत्यह्वेतांदैवीर्विशःप्रायसिष्टांसुप्रीतेसुधितेवसुवनेवसुदेयस्यवीतांयज।.............. Ibid., v. 14.देवीजोष्ट्रीवसुथितीदेवंइन्द्रंअवर्धतां।गयाव्यन्याघद्वेषांस्यान्यावक्षद्वसुवायानियजमानयशिक्षिते।.............. Ibid., 15A separate verse is addressed to three goddesses, called “Tisro devis” who are identified with Iḍā, Bhāratī and Sarasvatī. Iḍā is said to be in association with heaven, Bhāratī with Earth and Sarasvatī in association with Yajña in the company of Rudras.देवी: तिस्रःतिस्रोदेवी: पतिंइन्द्रंअवर्धयन्।असृक्षत्भारतीदिवम्।रूद्रैःयज्ञंसरस्वती।इडावसुमतीगृहान्वसुवने।वसुदेयस्यव्यन्तुयज्ञे।
These three seems to have given rise to the concept of Mahadevī, Mahālakṣhmī and Maha Sarasvati. In this combination “Iḍā” identical with Vasumati is the consort of Viṣṇu, the Bhāratī is the consort of Brahma and Sarasvatī is the consort of Rudra, Sarasvatī in (poetry) association with Yajña is associated with Rudra, Agni.Chatur BhaginisFour Goddesses named Anumati, Rākā, Kuhū, and Sinīvāli were very popular goddesses known as Sisters and their functions are also inter-related. They are not only prominently mentioned in the Samhitā part of the Veda but also in the Purāṇas and also in the Āgamic literature, They were essentially connected with conception of child, protection of the child while in the womb of its mother, and the power to come out of the womb of the mother (that manages the child birth) and finally giving the child speach. So every family adored these four goddesses and propitiated them and are called Bhaginis sisters. Though they are almost forgotten in modern times but their functions have been merged with more popular deities like Durgā, Kāli and others. Even in the time of the Advaita exponent Śaṅkara Bagavadpāda their worship was popular and that in his commentary on one of the Bhagavad Gīta verses he recalls their worship as Catur-bhaginis.देविकाःनिर्वपेत्प्रजाकामःछन्दांसीवैखलुवैप्रजाःछन्दोभिःएवंव्यस्मैप्रजाःप्रजनयति।प्रथमंधातांरकरोति।मिथुनीएवतेनकरोतिअन्वेवअस्माअनुमतिःमन्यते।रतिराका।प्रसिनीवालीजनयति।प्रजास्यएवप्रजातासुकुहवावाचेदधाति।एताएवनिर्वपेत्पशुकाम: ।............ Taittirīya Samhita, 3, 4, 9devikās nirvapet prajākākāmaḥ chandāmsi vai devikās. chandāmsi vai prajās chandobhiḥ caiva asmai prajaḥ prajanayati. prathamam dhātāram karoti. mithunī eva tena karoti. anveva asmā anumatiḥ manyate. rati rākā. pra sinivālī janayatī. prjatasu eva kuhvā vācam dadhāti.The Taittiriya samhitā begins this hymns with the statement that one who is desirous of progeny should invoke Devikās-Goddesses and these godesses are identical with Chandas i.e., poetic meters of a man desirous of a child, generates the same through hymnal invocation and it is this power that gives progeny. This led to the faith that the husband and wife, desirous of a good child, should copulate with divine hymn in their mouth.The same goddesses are to be propitiated by Paśu-kāmaḥ by one who longs for cattle wealth. Paśus are also created only by this process and thirdly one who desires a village Grāma-kāmah also propitiates the same four Devikās, identical with Chandāmsi hymns and he gets the same. Thus three basic requirements of all human beings, like the birth of a child, cattle wealth and residence, are fulfilled by worshipping these four goddesses and hence they were held in great esteem. Te same hymn continues to extol the four goddesses for those who desire fruitful Yajñas. At this juncture the Vedas identify these four Devikās Anumati as Gāyatrī chandas, Thiṣṭuk chandas is Rākās, Jagatī chandas is Sinivālī and Anuṣṭub is Kuhū.
1.Rākā — Bright fortnight
2.Kuhū — Dark fortnight
3.Anumati — Full moon
4.Sinīvāli — New moon
At another level
1.Anumati — Gayatri - 8 syllable - 8 Vasus
2.Rākā — Thiṣṭuk - 11 sylables - 11 Rudras
3.Sinīvāli — jagati = 12 syllables = 12 Adityas
4.Kuhū — Anushtuk = ?
The hymn gives an important message which later became the pessage of the Bhagavad Gīta. The hymn declares those who worhip these Devikās Goddesses, with whatever prayer in mind will get that desire fulfilled.yo yo yām yām tanum bhaktaḥ śraddhayā arccitum icchatitasya tasyācalām śraddhām tāmeva vidadhamy aham.................. GītaWe may hold these hymns dedicated to the Goddess had such a powerful influence over Vedic people.एताएवनिर्वपेत्ऋक्कामः।छन्दांसिवैदेविका: ।छन्दांसीवखलुवैऋक्छन्दोभिःएवअस्मिन्रूचंदधाति।क्षीरेभवन्तिऋचं।एवअस्मिन्दधातिमध्यतःदाधारंकरोतिमध्यतःएवएनंऋचः।गायत्रीवाअनुमतिःत्रिष्टुक्राकाजगतीसिनीवालीअनुष्टुक्कुहूधातावषट्कारःपूर्वपक्षःराकाअपरपक्षःकुहूःअमावास्यासिनीवालीपौर्णमासीअनुमतिचेन्द्रमाधाताअष्टौवसवःअष्टाक्षरागायत्रीएकादशरुद्राःएकादशाक्षरात्रिष्टुप्द्वादशआदित्याःद्वादशाक्षराजगतीप्रजापतिःअनुष्टुप्धातावषट्कारःएतत्वैदेविकाःसर्वानिचछन्दांसिसर्वाश्चदेवताःवषट्कारःताःयथसहनिर्वपेत्ईश्वराःएनंप्रदहीद्वेप्रथमेनिरूप्यधातुःतृतीयंनिर्वपेत्ततोएवउत्तरंनिर्वपेत्तथैनंनप्रदहनितअतःयस्मैकामायनिरूप्यन्तेतमेवअभिरूपाआप्नोति।Taittiriya Samhitā kānḍa 3, praśna. 4, hymn. 35It is also evident that seven poetic meters were recognized in Vedic period as
1.Gayatri
2.Uṣnik
3.Anushṭup
4.Brāhatī
5.Pankti
6.Triṣṭuk and
7.Jagatī
These were considered as Mātṛkās that give raise to ideas in poetic meters. These led to the acceptance of the concept of Sapta-Mātṛkās and were grouped as ganas that came to designate as Mātṛgaṇās.
