Godess Saraswati

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CHAPTER
-
II
SOURCES:
A) LITERARY
B) ARCHAEOLOGICAL

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The worship of the goddess of learning is ancient
and widespread. The materials for the study of the conceptual
and iconographic features may be categorised under two heads -
literary and archaeological.
Literary Sources:
There is no dearth of references to Sarasvasi in
the vast literature of ancient and medieval India.
Starting
from the Roveda she is represented in her different forms in the Brāhmanas, the great' epics, the Purānas, the Agames, the Tantras and the silpa texts. Besides the Brāhmaṇical tradition, she is also referred to in the vast Jaina iteratures
and Bucchist works. However from the iconographic point of
view, the texts are not unanimous to number of hands Sarasvati
is supposec to have. In Hindu Iconography, the goddess of learning has several forms with wide variety in emblens and vehicles. The literary works mention the sitting, standing
and dancing images. Sometimes the deity is shown associates with Brahmē both as His daughter and wife, with Visnu as His
consort, and associated with Siva also.
.
Brāhminical Literatures :
The Brāhmaṇical literatures describe about the
iconography of two armed, four armed and multi-armed Sarasvati.

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In the Agni-Purānas, Sarasvati is described as a two-armed goddess. Here she is illustrated as a viņādhāriai and is known as puşti, the sakti of vişnu. This is rather
interesting as Sarasvati is usually shown holding a vina with
her two hands and touching the cords of the instrument. So
pusti may here be taken as variant of Sarasvati.
According to Brahma-Vaivarta Purāna' in her two
armed icons, Sarasvati should have vina and pustaka in her
hands.
In the brimad Devibhāgavatam," Sarasvati, the
goddess of learning holds a vinā and a book in her two hands.
Her colour is white and defeats even the eight of the crores
of moon.
The Silparatna, 4 a silpa text of 16 th century A.D.,
describes vāgisvarí as white complexioned and is having crescent on her fore head. She is seated on white lotus.
The deity holds a pen and a book in her both the hancs.
In another instance in silparatna, she is said to
have hold ankusa in one hand and the other have a book. She
is three-eyed and has ardhachandra on her head. She is of
white colour and wears necklace made of 'aksha sutra'.'
Sarasvati having four-arms, is noticed in various
Puranas.
The Vişnudharmottarao Purāņa (7th century A.D.) states that the goddess Sarasvati should be represented with

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four-arms. She stands upon a white lotus in samabhança. carries book and rosary in her right hands and displays Vyakhyāna mudra and a Kamandalu in her two left hands. Alternatively, she holds book, rosary in her right and trident and Kamandalu in her left hands.
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She
7
In the Agni-Purāņa, the description of the fourarmed goddess is more or less same like that of Viṣṇudharmottara Purāna. It prescribes rosary and book to be held in her twc hands, while the front two hands should be exhibited as playing upon a viņā.
8
In the Matsya Purana, the four armed deity
Sarasvati holds a viņa, an akşamālā, a kamaṇḍalu and a pustaka in her respective hands. Sometimes a pasa is seen in place of akṣamālā. It is also stated that she would be worshipped with white garlands, sandal-paste and white clothes.
10
According to Suta-Samhita of the Skanda Purana, the goddess has four hands having lotus and akṣamala in the two right hands. A Kamandalu and a Pustaka should be held in the left hands. She is adorned with Jaṭāmukuta on her head in which a crescent moon is depicted. She is called Nilagrivā and trinayana which imply that she has a blue neck and three eyes as that of siva.
The Devi-Mahatmya of the Markandeya Purana describes the goddess of learning as four-handed holding ankusa, vina, akşamālā, and pustaka. The attribute añkusa indicates her close association with Siva.

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In another instance Markandeya Purāņa states that Gayatri is worshipped in the evening in the form of Sarasvati. Her colour is blue black like visņu. She is having four hands and her eyes are like lotus petals. She carries sankha, chakra, gaḍā in her three hands and shows abhaya mudra in the fourth hand. She is clad in yellow silken cloth after her
body being coated with sandal paste.
She is seated on blue Her vahana is Garuda.
seat. Her form represents Samveda.
She should be carved as riding on the back of Garuda.
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12
The Bhagavata Purana describes Sarasvati as a consort of Visnu. She sits on the back of a lion. She has four arms, red-eyes, exposed hair and developed and pointed breasts. She wears no garment and her appearance is fierce.
13
Sarasvati
According to Braḥad-dharma Purana, an Upa-Purana, possesses Sudhabhända (pot of nectar), Vidya, mudra and akṣamāla. She is richly adorned with various kinds of jewelleries. She is three-eyed.
Besides the Puranas, many silpa and tantra texts also refers to the goddess of learning and her iconography.
The Amusumād-bhedagama and the Pūrvakaraṇāgāma, the two Agama texts have been referred by T.A.Gopinath Rao as containing description of Sarasvati.14 According to Amaumad-bhedigama, white complexioned Sarasvati is seated upon a white lotus and is draped in white clothes. She holds a rosary in her right hand and the other should exhibit the vyākhyāna mucra and the left hands carry respectively a book
15

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and a white lotus (Pundarikā). She wears a Yajnopavita and
has the Jaṭāmukuta on the head. She is decked with various ornaments like pearl-necklace, ear-rings, armlets, bangles, bracelets and so on. It is further mentioned that the Kundalas of Sarasvati should be made of rubies.
16
The Purvaka raṇāgāma" mentions a rosary and a book to be held by the two hands of the goddess, whereas the remaining two hands are to carry sudanda and a Kamandalu (Karaka). The four-armed deity is also decked with various ornaments, but here unlike Amsumadbhedagama, the pearl is prescribed for her ear rings.
eyes.
4
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In another instance, the Purvakā raṇācāma states that she is four-handed, white in colour, seated on white lotus, ears bejewelled with parls. She wears ya oparita and other necklaces and garlands. She carries mirror, book, akṣamālā and the fourth exhibits Kataka mudrā. She has three
17
18 According to Aparajita pruccha, four-armed icon ·
of Sarasvati finds mention and her attributes are the same as described in Visnudharmottara Purāna. She holds axṣamālā, vīņā, pustaka and kamandalu in four hands. She is a snow white deity in white garments and has blue-neck. The only difference with that of visnudharmottara is that here she is described as seated on Padmasana and known as svetangi,
Nilakanthi and Chandrasekharā.

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According to Rupamandana,
on white lotus and her colour is white.
She is four-armed and
has a Jațamukuta and ear-rings made of pearl. She has three-eyes. She carries Sudanda and akṣamälä in her two right hands and in the left pustaka and padma respectively.
In Dipārṇava, 20 twelve forms of Sarasvati are mentioned such as Sarasvati, Kamalā, Jaya, Vijaya, Sarangi, Tumbari, Naradi, Sarvamarigala, Vidyadhara, Sarvavidy and sarada. The images of these forms are always four armed bus varies, only in their attributes and mudrās. As a rule, in the hands of the devi, among akṣamālā, pustaka, viņā, padma,
21
the goddess is seated
varada and abhaya, any four should be present as her attributes. Sarasvati (second) is also called as hamsavahini.
22
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The Devata-murti Prakarana refers to a four-armed image of Goddess of learning. She holds in her three hands lotus, akṣasutra, book and she shows the abhaya mudra in the fourth one.
23
she is
In the Dasa-sloki of Rahasyapanishad, described as four-handed, carrying akṣamālā, ankuga, Pasa and Pustaka. She wears garland of pearls. Her neck is like
sankha decorated with all ornaments.
She resides on the tip of the tongue of Her devotees. Her hair is adorned by the crescent moon.
24
The Asvalayana Kalpa sutra2 gives the characters of Dhenu Vägisvarl, as one of the form of Sarasvati. Her colour is white like crystal. She wears white garlands, and

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is clad in white clothes. She is decorated with pear! necklaces. She has four hands carrying ankusa, akşasutra, păsa and book. Her Jatāmukuţa is decorated with crescent
moon. Her face is like full moon and she is having three
eyes. She wears golden anklets.
Pancharatrāgāma in its kriyāpada states the
characteristics of Vägi svari, another form of Sarasvati."
She is also white in colour, seated on white lotus.
She
wears Jaţāmukuţa. Her ears are decorated with ratna kundalas. She uses vajñopavita and pearl-garlands. She is having three eyes and four hands. She carries in her hand a stylus probably for the purpose of writing and a book, akşamālā and Kamandalu.
Hemadrico in his work Chaturavargachintamani, also
refers about the four-armed image of Sarasvati. It mentions
that rosary, book, Viņā and a Kamandalu should be held in her four hands.
The Mānsara Grantha? states that Sarasvati Isk, seated on Pacmā sana. She is of white colour, having fourhands and two-eyes. She has karandamukuta, Kesabandha, ratnakundala, Padmahāra, nupura.
sri Tatvanidhi
in its description of Sarasvati
follows the mārkendeya Purana and describes her as Vişnurupini. Therefore, she has Garuda as her mount and holds in her hands the emblems of visnu such as sankha, chakra, Gadā and her fourth hand is usually in abnaya
mudra.
In other place of the same text, Sarasvati has

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been described as consort of Brahma, i.e. Vagiśvari and carries staff, rosary, book and kundika as her attributes. 29 The Saradatilaka-tantra," a Tantric text, contains a chyana of Sarasvati and information about her iconic features. She carries a boon, rosary, skull and a book in her four hands and having the additional
Os
characteristic of her body formed of the alphabets. The qualities and attributes noted in the Tantra indicate her close association with Siva.
40
In another instance of the same text, the goddess of learning has lotus, pustaka, rosary, akşamālā in her four hands. She has three eyes, her breasts are developed and her colour is as bright as the rays of moon."
30
She is also said to have four-hands in another dhyāna of the tantra and carries the gesture of Jñānamudrā, a rosary of rudrākṣṇa, a jar full of nectar and the gesture of Pustaka mudra. Her body is composed of the letters and on her forehead is found the crescent moon.
31
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The Prapanchasara Tantra also gives informatior. about the four-armed icons of Sarasvati. Her body is composed of letters. She has four hands and holds in her hands akṣamālā, kumbha, lekhani and the other exhibits abhaya mudra. She has three eyes and seated on a lotus seal. Her colour is white like Kunda flower.

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The Goddess of learning has one face and four
hands. She has matted hair. She holds in her hands akşamālā, lotus, book and lute." She is the giver of boon and knowledge. The same work states that she is fourarmed and sits on the lotus. In her four hands, she holds pen, the book, lotus and kunda flower. 54
The Prapanchasāra Tantra35 (chapter 7-3) also gives information about the four armed icon of Sarasvati. The attributes in different hands are abstraction, rosary, pitcher and a book. Her body is composed by the alphabets. Chapters of the same tantra text gives viņā, rosary, pitcher
of nectar and a book in her respective four hands and
describes the swan as her vehicle.
The Tantrasaraalso prescribes some dhyānas of
Sarasvati. In one instance she is white complexioned and
is seated on a white flower with smiling face. She has four
hands which hold lotus, rudrakşamālā, a vessel and a book.
The Goddess of learning is seated on a lotus seat.
She has three eyes, proportionate body and firm breasts.
She has four hands which carry Japāmāla, two lotuses and a
manuscript. 38
Besides the above discussed texts, there are a few texts which refers about the iconography of the multi
armed images of Sarasvati.
In Vyakrutika-Rahasya
eight-armed image of
Sarasvati has been described. In it, her attributes are bana,
śula, ghanta, hala and dhanu, chakra, sankha and musala.

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According to Chandi Kalpa, 40 Mahā sarasvati is
having eight hands carrying beli, sula, plough, conch, pestle, wheel, bow and arrow. Her colour is white like that of the moon. She is born from the body of Goddess
Gauri and the whole world depends upon her.
The Silaparatna, a silpa text of the 16th
century A.D. describes a ten-armed Sarasvati holding vina,
disc, conch-shell, bowl, noose, axe, a vessel of necter,
book, rosary and lotus.
She is tri-nayanā.

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JAIN LITERATURES

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Like Tantra, Vidya-powers also have been
assimilated in Jainism for securing peace and tranquility of body, mind and soul. The Jaina apparently became
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conscious of the Vidyas from atleast 5th century A.D., although we have some stray references to Vidyas even in the earlir Jaina works." Jaina tradition speaks of as
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many as 48,000 Vidyas, out of which only sixteen are considered to be principal or Mahavidyas." According 45 10 of all the conception in Jaina Iconography, the conception of Vidyadevis or goddesss of learning is most original. In no other religion, the Goddess of learning are so numerous." Some of these Mahavidyas like Rohini, Prajñapti, Kali, Apraticakra, Mahākāli, Gauri, Vairotya, Manasi, vajrasrinhala, Jvālāmalini and Mahāmānasi also became the Yaksis in about the 8th and 9th century A.D.46 By the medieval period, Kuṣmaṇḍī (or Ambikā), Padmavati, vairotys, and Jvālāmalini came to the forefront as the most powerful of all the Vidyas invoked and adored by the Jainas.47
to Bhattacharya
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The earliest Vidya to be worshipped by the Jainas was Sarasvati, afterwards also called the srutadevata, the personified knowledge embodied in the sacred Jaina scriptures
preached by the Jinas and the Kevalins.48 She is regarded
as the superintending deity of knowledge and learning in the

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Jaina pantheon." B.C.Bhattacharya observes "she
(Sarasvati) seems to be at the head of collective body of body of sixteen Vidya-devis" and her worship is prior to that of other subordinate deities. However U.P.Shah refutes the view of Bhattacharya and remarks that Sarasvati is
unmistakably the goddess of learning and is no-way connected with the Sixteen Vidya-devis of the Jaina pantheon." Further the inference of Bhattacharya making Sarasvati the "head of the collective body of the sixteen Vidyadevis" is not supported by any Jaina tradition.
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The Goddess Sarasvati was paid homage by the Tirthankaras even. In this Jaina pantheon, the twelve anga texts are described as the different limbs of the śrutadevată
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and the fourteen Purva texts are said to be her ornaments. According to Jainism, knowledge is five-fold: Mati-Jana (Orinary knowledge), śruta-Jñana (knowledge from scriptures), Avadhi-Jñana (supernatural cognition), Manaḥparyāya Jana (knowledge derived from perception of the thoughts of others) and Kevala-Jñāna (omniscience).54 Sarasvati is invoked for dispelling the darkness of ignorance and for removing the infatuation caused by the Jñānāvarniya Karma (i.e. the Karma Matter Covering right knowledge). In Jainism, the goddess of learning is named variously as Sarasvati, śrutadevatā, sārada, Bharati, Bhāṣa, Vāk, Vāk-devatā, vāgisvarī, Vägvādini, vāṇi and Brahmi.55 However as compared to the Brahmanic pantheon, where in Sarasvati is the goddess of both learning and fine

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arts, she, in the Jaina pantheon, has remained as the goddess
only of learning, there is so at least upto the close of 9th century A.D. As a result no literary reference or sculptural representation suggesting her connection with music and other
fine arts is available before the 10th century A.D."
The Jaina śrutadevi, approximately very closely,
resembles the Brāhmanical Sarasvati. She is endowed with two, four-hands, and rarely multi-handed. She as the bestower of knowledge and purity has been endowed with symbols like
manuscript, rosary, Varadamudra and water-vessel. She is
worshipped both by the Svetāmbara and the Digambara while
the Svecāmbara gives her a swan as her vehicle, the Digambara
provides her with a peacock, both the birds agreeing with the
conception of Sarasvati as a river goddess in Hinduism.
Thus Sarasvati enjoys unquestionable popularity
among the Jainas from the very ancient times and the
antiquity of her worship can be established from various
literary references, as discussed below.
Two-armed variety of Sarasvati is referred to in
Sri Kalanakāndam-stuti,” Sarasvati Yantra Pujā of Subhachandra, 59 writings of Bapabhatti Suri, 60 Ratnasāçar, 61 writincs of Manisundara Suri°C etc.
śrī kallāņakāņdam-stut:63 (in Prākļit) refers the goddess of learning as vāgisvari. She is said to have whitħess as
She Halcolcur and rests on a lotus seat. She possesses the book
and the lotus in her two hands.

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depicts Sarasvatiyantra Puja of Subhachandra" sefers the
deity as Mayūravahini.
This deity has three eyes and is
riding on a peacock. She holds the rosary and the bock in her hands. It is datable to circa 10th century A.D.65
Bapabhatti Surio describes the two-armed form of
the Goddess in a laudatory stanza dedicated to the Goddess.
The devi holas a manuscript with Varada mudra and a lotus in
her hancs. The verse is datable to circa 8th century A.D.
The Pañcākala-bhāsya describes the devi holding the book in her left hand while the Bhagavati Sutrao refers her carrying a full blown lotus in her hana.
Manisundara Suri (15th century A.D.) 71 in his work. śri sáradā-Stavástaka refers the Goddess having tre viņā and the bock in her two hands.
The four-armed Sarasvati appears to have enjoyed
the highest veneration among both the svetambara and the
.
Digambara sects. The Goddess in both the sects bear almost
identical attributes, barring the vāhana.
The texts like
Sarasvati Kalpa of Bapabhatti Suri,' Nirvāņakalika, Bhāratī kalpa, 74 Pratisthā sárodhāra, 75 Jinendra Kalyanabhyudaya, 76 sāradā-stotra of Malayakirti,77 Acéradinkara of vardhman Suri78 etc, refers to the four-armed icons of the
Goddess.
The sarasvati Kalpa of Bapabhatti Suri cives two
sets of symbols for four-armed Sarasvati.''
The first one
describes the Goddess as of white complexion and holding the

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viņā, the book, the rosary of pearls and the white lotus in her hands. She puts on white garment and wears ornaments of pearls. Jinaprabha suri of Vividha-tírtha-kalpa (14th century A.D.), 80 gives the same form in his sāradāstava, but prescribes a lotus seat. The other form in Sarasvati-salpa
states that the Goddess should be attributed with the abhya
mudrā, the Varada mudrā, Pustaka and a lotus. A third form
is also prescribed, in which the Goddess is shown seated on a lotus in the Padmasana, with lotuses in her four haris.
The Sarasvati-kalpa is dated to circa 10th-11th centus A.D.
According to the Nirvana Kalikā of Padalipta Suri (III) (Circa A.D.900), 83 sarasvati carries a book, a rosary, a lotus, the Varadamudra and various other objects
in her other hands.
The Bhārati-ralpa (dated to circa 11th century A.D.)
refers the cevi as tri-netrā, and prescribes abhayamuczā, Jnāna mudra, rosary and manuscript as attributes of the devi.
The Digambara text Pratisthā sārodhāra85 refers to her as riding on a peacock but gives no iconographic catails.
The Jina Sarnitā of Ekasandhi represents another Digarbara
tradition. It describes the deity (vāņi) as seated in Parayanka-āsana, three-eyed,, crescent an her Jațā and four
haring
armed.
The four-hands show the Jnanamudrā, the rosary, the
abhaya and the book."
The Vidyānuvādanga Jinendrakalyānābhyudaya
recommended two sets of objects for the goddess.
The first

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one refers her as Brāhmi and describes her as displaying the vyakhyāna mudrā, the rosary, the abhaya and the fruit. She has three faces, a lotus seat and peacock mount. The other one mentions Sarasvati as Bhāsa, riding on a swan anc showing the pāśa, the lotus, the book and the abhaya mudrē in the four hands.
A verse in the sarada stotra of Malayaki:ti
states that the lower right hand of the Goddess Sarasvati
should hold the Varada mudrā, right upper hand a roser, the lower left hand a Pustaka and the left upper hand a lotus.
The Ācāradinkara of Vardhamansuri
describes the
goddess as Shagavati Brāhmani. She is four-handed and carros
Vina, Pustaka, Padma and akshamala.
It is datable to
Circa 15th century A.D.

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BUDDHIST LITERATURES

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The Goddess Sarasvati plays an important part in the Buddhist pantheon like that of in Brahmanical and Jaina. I
It appears that the Buddhists have borrowed the idea and concept of the goddess of learning from the Brahmanical pantheon. 9? However in the vajrayāna pantheon, her popularity increased. Since she was the Hindu goddess of learning, she was associated with Mañusti, the Buddhist God of transcendental wisdom and also with Prajñāpāramitā, considered to be the goddess of transcendental wisdom. Her worship is widely prevalent among the followers of Buddhism like Manjusri and Prajñāpāramitā, because she is also believed by the Buddhists
as bestowing knowledge, wisdom and memory.
Sarasvati has five different forms in Buddhist
Iconography. The sādhanamālā contains the iconographic
features of these forms wheir are stated below.
- i)
Manā sarasvati :
The Goddess is two-armed, shows the Varadamudrā
in her right hand and carries in the left the white lotus
with its stem. She is white-complexioned, extremely
compassionate, having a smiling face and wears garments
decorated with white sandal flowers. The Goddess is
conceived as twelve years old. She is always being surrounded
by four deities identical in form with herself - Prajña in front of her, Medhā to her right, Smțiti to her left, and Mati in the west. These four divinities may also accompany
other varieties of Sarasvati."

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ii) Vajravina Sarasvati:
Like Mahasarasvati, she is also white-complexioned and has two arms. But here she plays a viņa with both of her hands. She may also be represented in association with the four divinities as described above."
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iii) Vajrasāradā :
She is seated on a lotus and has a crescent in the crown. She has three eyes and two arms, holding lotus and book, in her left and right hand respectively. She may also be attended by the above mentioned four divinities. The
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Sadhana is silent about the specification of particular asan?
iv) Arya Sarasvati :
She is another variation of Sarasvati and also called Vajrasarasvati i.e. Sarasvati of Vajrayanists. Conceived as a girl of Sixteen, she is white in complexion, and wears white clothes. She is also two-armed. She holds in her right hand the red lotus and carries the stalk of a 98 lotus in the left on which rests Prajñāpāramitā bock.
v)
Vajrasarasvati
Though a Vajrayanist deity, she, here, has displayed an entirely different form. She has three faces and six arms. She is red complexioned but her hairs are brown and raised upwards. Her right face is blue and left one white.

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She is seated on a red lotus in the Pratyalidha pose. She
carries in her three right hands, the Prajñāpāramită book on a lotus, sword and kastr. In the left hands are shown Brahmakapāla, jewel and disc in descending orders."
*
Besides the sádhanas prescribed in sadhanamala,
reference to the goddess of learning is also found in the
Nispānnavegāvali. In the Durgati-Parisodhana mandala of
I mentioned Nispānnavagavali, a series of deities are placed. Here we
notice the figure of Sarasvati in the miscellaneous group.
There is a sloka - "Sarasvati sita Saveyna Vajram Vāmena vīņām."101 In the Bhutaļāmara mandala, Sarasvati is also represented and she is described as "Naikhatyam Chandra Sarasvati vinam vadayanti."
The Goddess has a tantrik form in Tibet.
She is
red with three faces, six-arms, a war like pose and tantra attributes. 103 However from other tibetan traditions like Sgrubthabs Kunbtus Volkha, Alex Wayman" have prescribed
three basic sorms of Sarasvati : (i) the Indepencent white
goddess; (ii. the Independent red goddess; (iii) the coddess as a cor.sort.
(i)
Here the Goddess, Vāgdevi is having one face, and
as that of a two-arms. Her face is calm, smiling and lovely with charming
youth of sixteen years. She has a narrow waist and firm and
high breasts. She is in squatting postures and hold) an
instrument of many strings of Lapis Lazuli in both of her
hands. She is decorated on the crown of her head with crescent

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moon and garland of white lotuses. She is draped in
white
silk. Her body
lacks self-existence, emits light rar's
without end and has in back a shining curtain in the form of
a moon. This is the white Sarasvati of the Brahmin Kila School, (f.no.413). 105
(ii)
There is the secret evocation of the red sarasvati
in the lineage of the Kashmirian Pandit Bhikshaparame (f.no.505).
After going through various ritual performances are reditation, the officiant imagines that he becomes the Devi Saraszati. The devi is one faced, and two-armede. The right hand told me the wish-granting jewel (cinţāmani) and the left hanc holdsne the knowledge mirror (jñanadarsa). She is thought of as her
right leg bend forward and left retracted. She is decorated
with various head ornaments of jewel, ear-ring, necklace, bracelets, pearl girdle, and a silk garment, She is oi
a face sixteen years and having calm, smiling, and charming body, sending out innumerable rays. The officiant imagines that the appearances are devoid of self existence and imagines on the
head a white om, on the neck a red AH, and in the heart a
black HUM. 106
(iii)
Here for the red Sarasvati as a consort in the
Bo-don lineage, the officiant follows various prelimesaries,
leading (f.no.542) to the officiant's becoming meditatively vajradevi vagisvari. Her colour is conceived as red. She has one
face and four-arms.
The two basic hands of her embrace the

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53
who is
male deity, and with the remaining ones, in the left holds a precious musical instruments and in the remaining right slowly plays the instrument. Next to her is seated the Lord, the and venerable Mañjughosa, four-armed the two basic embraces the Goddess. The other right hand holds a sword that blazes with light rays and the left possesses a blue lotus on top of which is the Prajñāpāramitā book. Both the deities are well-decorated
The
L
with all manner of jewels. On the petal, to their east, is
on
noticed Prajña, the southern one Mati, on the western one is smṛti and on the northern one is Medha; each having one face and two arms, holding a sword with the right and a white lotus with the left. The central deities and the retinue all have on their forehead an on their neck an AH, in their heart a HUM. In this case, there was no indication of the
ом,
ihal goddess's age, although the presumption is that she is here 107 also sixteen years old.

Page #25

References
1.
2.
Agni Firāna, 49/20, 50/16. Brahma-Vaivarta Purana, Ch.IV, sloka 19-29. B.P.Basu, srimad Devibhāgavatam, vol.II. silparatna, vol.XCVII, Sloka 13.
Ibid, 701.XVIII, Sloka 3.
Visnucrarmottara Purana, Ch.64. Agni Firána, Ch.xx. Matsya Purana, Ch. LXVI.
8.
Skande Purana, Nagarakhanda, Ch.XLIX, Verses 18-20,
T.A.G.Gopinath Rao, EHI, Varanasi, 1971, p.334.
D.R.Rajeswari, Sakti Iconography, New Delhi, 1989, p.29.
Bhagavata Purana, Ch.III.
15.
16.
Brihac Dharma Purana, Ch.VI, Verses 39-40. T.A.G.Gopinath Rao, op.cit, vol.I, Varanasi, 1971, pp. 377-378. Ansúmas-bhedācāma, 48/114. Pūrvakárangāma in EHI, Vol.I, Appendix-C, p.138. Rajeswari, op.cit, p.26. Aparăistarrucchă, Ch.230. Rūpamangana, Ch.v, Verses 61-63.
18.
9.
20.
Roy (ed.), Purătattva Visesanka, Uttar Pradesh, May, 1981, p.59.
21.
Ibid.

Page #26

55
Devātamurti Prakarana, Sloka 81.
D.R.Rajeswari, Sakti Iconography, New Delhi, 1989, p.25.
Ibid, p.26.
Ibid.
Hemadri, 1/725 ; 2/47. Mānsara 24/51-52, Indumati Mishra, Pratimāvigyan (Vaisnava Puran Ke Adhar Par), p.70. Balaram Srivastav (ed.), Sri Tatvanidhi, pp. 96-98.
N.K.Bhattasali, Iconography of Buddhist and Bramanical Sculptures in the Dacca Museum, Dacca, 1929, p.139.
30.
Sāradātilaka tantra, p.368, Sloka 37. Ibid, Ch.VI, Verses 34-36 and 113-123.
31.
A.Avalon (ed.), Prapanchasara Tantra, Tantra texts, Vol.III, p.48, Sloka 3.
Ibid, Astama Patala,
Sloka 29.
Ibid, p.60, Sloka 53-54.
35.
Bhattasali, op.cit, p.189.
36.
Ibid.
37.
Panchanan Tarakaratana, (ed.), Tantrasāra, p.198, Sloka 14.
38.
Ibid, p.201, Sloka 25.
39
K.K. Roy (ed.), Purătatva Visesanka, Uttar Pradesa, p.59.
40.
The same form is also found in Mahabharata, Bhisama Parvan, Adhyaya XXIII. The Hindu Mahāsarasavat is known to be a variant of the Goddess Durgā or Bhadrakali. Venkatesvara (ed.), Durgāsaptasati, 1916, p.283, Verse 14-15.
Silparatna, Ch.XXIV, Verse 4.
41. 42.
Mohanlal Bhagwandas Jhaveri, Comparative and Critical Study of Mantrasāstra (Being the Introduction to Sri Bhairava Padmavati Kalpa, Ahamedabad), 1944, p.294.

Page #27

56
43.
Sutrakrtanga (2.2.15 - P.L.Vaidya, Part-I, 1928, p.87) and Nayadhammakahad (XVI, 129 - N.N.Vaidya, p.189) refer to Uppayani, (Utpatani), Vetali, Gauri, Gandhari, Jambhani, Stambhani, Antaddhani (Antardnani) and several other Vidyas.
Sanghadasagani (C.A.D.700) and Hemacandra Suri (c mia 12th century A.D.) respectively in their works Vasudevahindi, and Trisastisalakapuriscarita mention that the Vidyas are 48,000 in number.
45.
B.C.Bhattacharya, Jaina Iconography, Lahore, 1939, p.163.
46.
M.N.P.Tiwari, Sarasvati in Jaina Tantric Worship, Paper read at the International Conference of South Asian Religious Art Studies in Pantheon of Power, September 1984, p.2.
Ibid.
H.R.Kapadia and Hiralal Jain (ed.), Caturvimsatika of Baopabhatti Suri, Appendix-A, Sarada Stotra-3), Bombay, 1926, p.181.
Bhattacharya, op.cit, pp.163-164.
49. 50. 51.
Ibid.
U.P.Shah, Iconography of the Jaina Goddess Sarasvati, Journal of the University of Bombay, September 1941, p.212.
52,
Ibid.
53.
Ibid, p.196.
54. 55. 56.
U.P.Shah, op.cit, op.cit, Bombay, 1941, p.196. Bhattacharya, op.cit, p.164.
M.7.P.Tiwari, op.cit, p.2. Bhattacharya, op.cit, p.164.
57.
58.
Sri Kalyanakanda-Stuti, Verse 4.
59.
Sarasvata Yantra Puja, B.C.R.I, MS, No.192 of 1872-73.
Sarasvaa
60. 61. 62.
Shah, op.cit, p.198. Ratnasagar, p.2. sri Sarada-Stavagtaka, Verse 6.

Page #28

63. 64. 65.
Śrī Kalyānakanda Stuti, Verse 4. Shah, op.cit, p.201. M.N.P.Tiwari, op.cit, p.8.
66.
Shah, op.cit, p.198. M.N.P.Tiwari, op.cit, p.3.
67.
8
.
Pancakalpa-bhāsya, Kalpa
9.
Bhagavati sutra, Vol.III, p.979.
Ratnásāgar, p.2.
70. 71. 172.
Sri Sarada-Stavastaka, Verse 6.
Bhairava Padmavati Kalpa, Appendix 12, p.70.
. 73.
74.
75.
Nirvanakalika, p.37. Tiwari, op.cit, p.7. Pratisthā-Sarodhara, Adhyaya VI, p.132. Jinendra-Kalyānabhyudaya (in MS), Folio 23, CF. U.P.Shah, op.cit, p. 207.
Ibid, Folio, 98.
78.
Pratistha-Kalpa, p.146. B.C.Bhattacharya, The Jaina Iconography, p.163.
Bhairava Padmavati Kalpa, Appendix 12, p.70 and Appendix 14, Verse 7.
80.
81.
U.P.Shah, op.cit, Bhairava Padmavati Kalpa, Appendix 12. Tiwari, op.cit, p.7. Nirvāna Kalikā, p.37.
82.
83.
84. 85. 86. 87.
Bharati Kalpa See Bhairava padmavati kalpa, Appendixi,verses land8. Pratisthā Sarodhara, Adhyaya VI, p.132. Jinasañihtā, Ch.39, Verse 37-38. Jinendra-Kalyanabhyudaya (in MS), Folio 23. U.P.Shah, op.cit, p. 207.

Page #29

58
88.
89.
U.P.Shah, op.cit, p.207. Sri Sarasvati stotra of Malayakirti, Verse 4. Bhattacharya, op.cit, p.108. Tiwari, op.cit, p.8.
90. 91. 92.
R.S.Gupte, Iconography of the Hindus, Buddhist and Jains, Bombay, 1972, pp.117–118. Ibid, p.118.
93.
94.
Ibid.
95.
Sadhanmālā, sādhana, No.162.
96.
Ibid, Sadhana No.165.
97.
Ibid, sadhana, No.166.
98.
Ibid, Sadhana, Nos, 164, 168.
49.
Ibid, Sadhana, No.161, 163, 167 JIH, Vol.XLI, Part-II, December 1963, pp.685-86.
100. Nişpānnayagāvali, p.70.
:01. 102.
Ibid, p.73. Ibid,
203.
Young East, 1925, Vol.I, No.5 What Japan owes to India, pp.144-45. Sadhanamala, p.3.
.
:04.
Alexwayman, The Goddess Sarasvati From India to Tibet in Kailash, A Journal of Himalayan Studies, Vol.v, No.3, 1977, pp.245-51.
205. 106.
Ibid, p.249. Ibid, p.250.
107.
Ibid, p.251.
*
**

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59
ARCHAEOLOGICAL SOURCES :
:
The Iconographical study of Sarasvati is chiefly
based on archaeological finds of different parts of India. Archaeological finds of Northern, Southern, Central, Western and Eastern India including sculptures in stone, wood, as well as in metal, seals, paintings and epigraphical anc numismatic evidences have been taken into account. The vast span of time, at least from 2nd century A.D. upto 15th-16th century A.D. have yielced numerous images of Goddess of learning. Some of the · images show clear iconographic features while others are
damaced or in mutilated condition due to ravages by man ond nature. Some icons also throw new light on the iconic
features of the deity. However, in spite of regional or local
variations in images, some of her distinct iconographic features
were all through maintained. In different periods, her
iconcgraphical characteristic went through modification and ramification, just to meet the requisites of the creeds to
which she belonged or to satisfy regional concept. Thus in the medieval temples of Orissa, Bihar, Bengal, Uttar Pradesh, Rajasthan, Madhya Pradesh, Gujurat, Maharashtra, Andhra Pracesh, Tamilnadu, Karnataka, Himanchal Pradesh etc, we find beautiful
images of the goddess, having variations in their iconographic
features.

Page #31

EPIGRAPHS ::
The Inscriptions of India as well as of Nepal,
and Champa mention the goddess Sarasvati. However unlike the
major deities, she is referred to in a few inscriptions only.
The inscriptions of various dynasties and the inscribed
lables on the pedestals of the deity throw light on the
worship of Sarasvati.
The earliest inscriptional reference of the goddess
of Sarasvati goes to the Maurya-scythian era, which refer
frequently to Utsava and Samāj.
This Samāj were often held
in honour of the deity e.g. Brahmā, Pasupati and Siva or Sarasvati.? The inscribed image of Sarasvati found at Karikáli Tila (Mathura) is the earliest of its kind.' The inscription
is in early Brāhmi character dated in the year 54 (saka Era 54)
i.e. 132 A.D.4 now preserved in State Museum, Lucknow. This inscription is of very much importance because at first it
refers to the Goddess as Sarasvati, probably the earliest in
India, caused to be made by an ironsmith named Gova (Gopa) at the recuest of the Jain Aryadeva, a narrator (vāchaka) of
perhaps Jain sacred lore and scripture, and secondly, the last
line of the inscription on the image refers to the association of Sarasvati with dancers too, which gives an idea about her being regarded by the Goddess of dance and music. The
Kamasutra and the Jayamangala commentary inform us that dramatic
performances were held in the temples of Sarasvati.'

Page #32

61
The inscriptions of the medieval period gives an
idea about the origin, mythology, iconography and various
aspects of Sarasvati.
In the Maihar Inscription of the
middle of 10th century A.D.' her origin is said to be the lotus like face of Brahman, on the stage of whose tongue, she dances according to another epigraph.° Margalagiri pillar Inscription (two pillar inscription) of the time of Krishnaraja of Vijaynagar also attests the above statement that the goddess of learning is generally supposed to dwell on the mouth of Chaturnana (Brahmā). 9 Sarasvati is also described as in the Rewah plates of the time of Trailokya
Malladeva of K.E.963" (1212 A.D.) as dancing on the mouth of Chaturmukha (Brahmā). The Dhurti plates of Kālachuri
Trailokyamalla
also refers to Sarasvati as a female swan
and where Sarasvati always enjoys herself assemblage in lotus (mouth of Brahmā). The Arulal Perumal Inscription of Saka
Samvat 1127 (1205-06 A.D.) of King Tammusiddhi" gives an interesting clue for the origin of Sarasvati. It states that Bhagirathi was responsible for bringing down the heavenly Sarasvati (the ganga and the Goddess of eloquence) at the
same time to the earth.
Sarasvati's association with Brahmā, Visnu, Siva
are known from various Inscriptions. A few Inscriptions refer her as wife of Brahmā and some as the daughter of Brahma. One Inscription of Ittagi of A.D. 1112 of Western Chalukyan king Vikramāditya VI refers Brahmà as the Lord of
vāni (Sarasvati) and also as the lover of Sarasvati."

Page #33

62
Sarasvati's association with Visnu in medieval
period is well-reflected in the inscriptions. The Chatsu Inscription of Baladitya?4 of 10th century A.D. refers : Sarasvati as a co-wife of Laksmi and as jealously guarding
her husband's action (i.e, of Murări).
The same Inscription
states that Sarasvati is said to have aversion to the people
endowed with sri."
Sarasvati's intimate relation with
Nārāyana is also attested in the Khalari Stone Inscription
of the reign of Haribrahma deva dated in Vikram 1471 (1414 A.D.).
che erotic love expression of Vişnu with Lakşmi and
Sarasvati is attested by one Bhubaneswar Inscription of about 12th centu: A.D.17 It states that "May Hari Make you prosperous; the God, who being desirous of embracing (Sarasvati) with his body marked with Saffron-lines on the Jar like
breasts of Lakşmi (already) held by him in deep embrace, was
thus taurted by the goddess of speech Sarasvati - do not spoil
thy fresh garland (oh, Lord).18 In one Inscription dated Nepal Samvat 689,"o discovered at Mangalbazar at Lalitpur and collected in the Nepal Museum, both Lakşmi and Sarasvati are delineates as the consorts of Visnu. And they who are
symbolisec as the goddess of material as well as spiritual
wealth were at dřaggers drawn against each other. This is the reason why the learned men have put forth the above
saying in Karious literatures : .20 This saying is also inscribed in the Allahabad Pillar Inscription. In a 15th century Inscription, the association of the goddess Sarasvati

Page #34

with Visnu is unambiguously declared in Nepal and she is considered to be the Sakti of Madhuripa, a name of Visnu." depicted Sarasvati is interestingly seferred as daughter-in-law of
23
Padma (Laksmi) in one Inscription."
24
Sarasvati's association with Siva is mentioned in one of the Khajuraho Inscriptions, where she is said to have taken her seat on the mouth of Lord Siva. In the Pria-Ainkosi Stone Inscription of Champa dated 868 A.D., she is also identified as Sakti of Sambhu, and also designated as Bagisvari. The Kurda Stone Inscription (972-73 A.D.) refers to Sarasvati as a Sakti of one of the trinity.
26
25
22
29
63
27
Just as Brahman, Visnu and Siva came to be regarded as the three aspects of the same God, similarly the three goddesses Sarasvati, Sri and Uma - became three aspects of the same goddess." This was poetically expressed in the Inscription from Maihar (middle of the tenth century A.D.) as 'the Goddess, who is the divine power of the lotus born, who is Kamala in Visnu's embrace, who is the fair complexioned one known throughout the world and worshipped as half the body of Girisa'.28
Interestingly in Nepal, Sarasvati is also regarded
as the Sakti of Mañjusi. An Inscription on a stone slab depicting both Sarasvati and Mañjuśr. belonging to circa 17th century A.D. discovered at Thankol attests the above fact. Another Inscription of N.S.857 of the Mañjus

Page #35

64
temple located at Lalitpur, records a hymn inpraise of both Manjunath and Viswakarma; where in also is noticed the concept of Sarasvati as the Sakti of Mañjusri.
Sarasvati is known by various names from
31
Inscriptions.
In Nagpur Stone Inscription" of Vikrama 1161 ( 1103 A-4.), there is a reference to Vagdevayah in the dual number, which is rather interesting. According to Skanda 33
32
and Padma Purāņas, Sarasvati and Gayatri were two wives of Brahma and the two goddesses also have some similar features. Hence Vägdevyȧ here may refer to Sarasvati and Gayatri. The Inscription at Ittagi of W.Chalukya Vikramaditya VI refers Sarasvati as Vāni.35 One Inscription, Dahod Stone
VA
36
Inscription of Mahamuda (Begashe) V.S. 1545 (Saka Era 1410). Sultan of Gujrat refers to a Goddess, to whom Jaina writer Chandraprabha Suri37 takes as Brahmi alias Sarasvati i.e. most probably Durga-Sarasvati of sarada shrine. The Bijholi Rock Inscription of Chahmana Somesvara, V.S. 1226, adored the goddess of speech under her two appelations, Sarada and Bharati.38 Pujaripali Stone Inscription of Gopaladeval (K.E.) 11th century A.D. calls the Goddess as Gauri whereas the Maihar Inscription refers her as identical with Brahmi, Kamala, Gauri.
39
-10
A
40
The Karanbel Stone Inscription of Jayasimha describes the goddess as Çaturvritti, the presiding deity of the four arts viz, nṛtya, gita, vadya and kavya. The four
arts flow in four streams, hence the goddess Caturgati.41
Her

Page #36

65
association with nộtya is known from the Khalari Stone
Inscription, 42 Karkal Inscription of Bhairava II (sake 1508), 4. Akalpundi grant of 1290 A.D.91 etc. She is referred as a 1290 AD44 -
portrayed
cunning dancing girl in an inscription of Ittagi of W.Chalukya.
The concept of goddess as the spirit of learning
45 is found in the Chebrolu Inscription 1213 A.D. of Jaya, which invokes the goddess as the divine ambrosial flow of learning. The Garavapadu grant (1260 A.D.) of Kāktiya
Ganapatideva also adores the Goddess describes as tejas = Sarasvat-àkhyan, 1.e. the flame called sárasvata.46 2. unpublished inscription in the Gwalior Museum of samvat 1038
to ihal refers that the Goddess of Sarasvati with her bright lamp of learning, has enlightened this world, which had been enveloped by the darkness of ignorance. The Bheraghat Inscription of Queen Alhandevi (Chedi year 907)48 invoking the blessing of Sarasvati states that Sarasvati brings about all intercourse of man and by pertaking of even a small portion of who se elgance, man may secure greater weight in assemblies. One Jaina Inscription at the temple of Neminatha of Mount Abu - avers refers that Sarasvati's abode is said to be the minds of poets, where as in another inscription she is mentioned as the cow of plenty to poets.50. Sarasvati, the mother is eminently as the bestower of learning, wisdom and poetic grace is also indicated in one Nagpur stone Inscription In Madagihal Inscription of 1093 A.D.”, Sarasvati is
50 That
regarded as Mistress of art of literature.

Page #37

1
The Koni Stone Inscription 15 Goddess
as
55
53
of (K.E.900) also
Reg refers Sarasvati
worlds possible and causes the attainment of Imperishable goal. Karanabel Stone Inscription also speaks that she is the cause of the attainment of the four objects of human life."
54
7
66
who makes the practical life in the three
Interestingly some Inscriptions also throw light on
art, iconography and temples of Sarasvati.
57
L
58
to
Sarasvati is described as seated on Hamsa and in Padmasana and everything associated with her white in various literature, and it is amply supported by Inscriptional data. The Chebrolu Inscription of Jaya (Saka-Samvat 1135) of Kakatiya king to Ganapati refers Sarasvati, as seated in Hamsa. The Jaina Inscription of Temple of Neminath of Mt.Abhu refers to her 5624 Vahana as swan." Raipur Stone Inscription of Brahmad Era (Vikrama) year 1458, and Dhurti plate" refers lotus as an attribute in one of the hands of Sarasvati. The Goddess to of learning is associated with book and lyre is referred in the Mandhata plates of Devapala of Vikrama Samvat 1282. The Devi is said to have worn Kiretaratna mukuța, having Muktakesa (cpened hair), and her body is like Viņāsphatika, as known from Sringi-Rishi Inscription of Prince Mokala 60 of Mewar belonging to 15th century." She is referred to as Sarva-sukla-Sarasvati as known from Rewah plates of Trailokya Malladeva of K.E.963 (1212 A.D.)." The Kalvan
59
62
plates of Yasodharma, one sub-ordinate chief of illustrious Bhoja refers Sarasvati having tilaka dn her face and Kirita
States
61
while

Page #38

67
on the head.
mukuța Sten Sarasvati sits on Divya Simhāsana is also known
from one Inscription found at Rampur (M.P.) of about Samvat
1664 A.D.63
The colour of Sarasvati is described as pure white
in the vast literature and it is amply supported by Inscriptions of various periods. Dhurti plates of 963 K.E. refers the Goddess as all-white Sarasvati and another
inscription states that she looks like a white female swan.
The Kapalur grant of Saka Samvat 1258 (A.D.1336-37) of
- speaks of Harihara, founder of the city Vijaynagar, Feters Sarasvati
and states that her body resembles im splendour the sky with its autumnal clouds. Her hair is said to have been decked
with the digit of the moon and who carresses a parrot and has
a lute.
This Inscription is rather noteworthy because it
at first refers to us about parrot's association with
ana Sarasvati. In some of the dhype mantras Sarasvati is described as carrying book, akşamālā, včaņā and also a parrot. Parrot is the representation of all beings. People teach words to the parrot and while it repeats they
W
enjoy.
In the same manner Sarasvati bestowed upon the
beings the knowledge, and wisdoma when the people used it in
their lines, she enjoys. A parrot is the symbolic representa
beings. tation of all other arts! She (the Goddess) is the embodiment
of all arts. Her white colour is the symbol of happiness and bliss. She is the form of Ānanda. Another Inscription of Kandukar (19) of A.D.1407-08°° also refers Sarasvati as white

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68
as jasmine and the moon and also speaks her as the giver of as strength. A firman by the emperor of (NO.IX )Delhi of Hijira 1088 refers to the Goddess of learning as sārada
and speaks about her luster which equals that of crores of moon shining simultaneously.69 One inscription of saka Samvat 1608 of Sri Sankaracharya Matha, Speaks of jasmine
flowers which adorns the crown of Sarasvati.'
A few Inscriptions also gives us an idea about
the establishment of some temples dedicated to the Goddess
of learning. The most important of those is that of Dhar Prasasti of Arjunavarman of Paramāra king (13th century).
The inscription states that the dramā, pārijāta Mañjari:
Nataka by Mandana was acted for the first time in the city of Dhär. According to the prologue, the first performance of drama took place in a temple the Goddess Sarasvati. The res famous Inscription of Dhār, inscribed
021
the pedestal of văgdevi, now preserved in London Museum, describes Rhes that the illustrous Bhoja, the moon among kings:
having first made the mother Goddess of speech, created an
auspicious image and it is said to have most probably been
kept in the Sarasvati temple of Dhär.'
Thus here there
is a reference to a temple dedicated to the Goddess of learning at Dhar in medieval period.
Another inscription worthy of mention in this
respect is recovered from Maihar (middle of 10th century
to A.D.). The inscription refers the person, in whose memory
the Goddess sārada (Sarasvati) was apparently installed in a

Page #40

74
temple in the hill. The reference is no doubt to the hill at Maihar, in which inscribed slabs are found referring to one Devadhara building, a temple, for the Goddess Sarasvati in the memory of his son. This reference obviates the fact that Goddess Sārada of Maihar was originally installed in the hill.
69
An Inscription is noticed by D.Mitra from a damaged stone sculpture from Wari representing an eight or ten-armed 75 images. The object of the inscription is to record the construction of an image by a person named Padmagiri. The image is stated to have been made (for installation) in the brick built house of one Padmagiri preceptor. The Pakva-Pura as mentioned in inscription seems actually to have been a temple built by a person in question (the word Bhavana, which is a synonym of Pura) is sometimes) used in the sense of a temple). Here the inscription refers to the Goddess as Sarasvati and interestingly have eight or ten-armé, rare in
76
eastern India.
a
Besides, there are also references about installation
77
of Sarasvati images. An fragmentary epigraph on the east wall of third Präkāra in the Ranganath Temple of Srirangam in Trichinepaly makes a mention of a Sarasvati bhandara library. It also records that in an auxillary Mandapa, near the library provision was approximately made for the installation and worship of three presiding deities of learning i.e. Hyagriva, Sarasvati and Vyasa-Bhagavan. One Gurgi stone Inscription
ん
78
of Kokalladeva II of 10th century A.D. describes that one

Page #41

79
80
Saiva ascetic named Prasantasiva erected a temple of siva and attached Ganapati and Sarasvati at the gate. In an Inscription at Patan' (on the pedestal of an Image) calls it the image of Sarada and gives V.S. 1440 (1383 A.D.) as the year of its installations by Sri Siddha Suri. Another inscription found at Landun, states that one Asadevi, bows to Sarasvati im(1219 1162 A.D.). 1162 A.D.). Besides this, there are other inscriptional references, which speaks about the installation of Sarasvati.
6:52 or
70
Thus a survey of some Indian inscriptions give us an idea that the antiquity of worship of Sarasvati goes back atleast to 2nd century A.D. and continued upto 15th-16th century A.D.

Page #42

72
NUMISMATIC :
Besides epigraphs there are also numismatic
evidences of Sarasvati worship. Iconographical representation of Sarasvati are found in abundance in the Gupca period.82 The goddess of learning is known to have been represented on the reverse of the lyrist type of coins of Samudragupta gold coins. 83 The goddess-nimbate is seated
1
to left on a wicker stool, wearing a loose robe, close
fitting cap and jewellery, and holding a fillet in ser outstretched right and cornucopiae in the left hana. 84 Some have identified her with Lakşmi also, as Lakşmi usually appears on the Gupta-Gold coins. But due to the absence of lotus in her hand, scholar identifies it as Sarasvati. Though she (Sarasvati) has not been given her specicic symbol i.e. Vina in her hands, the viņā on the obve-se is taken to identify her with Sarasvatī viņāpani.85 similarly the goccess on the coins of Kumaragupta I of 'Tiger slayer' type is identified with Durgā, her vāhana is peacock and she may also be taken to be Sarasvati." But it ma: represert Kaumari, the better half of Kumāra Kārtikeya. Goddess Sarasvati in tribhanga posture is also founs on the reverse of one of the Rājalilā type of coins of Sanzchārdeva, (c.550-575 A.D.), a predecessor of Sasanka of Gauda. Here the goddess is standing on a lotus. with her left hand resting on a lotus with bent stalk and by the right hand
draws up another lotus in front of her face and below it,
there is a swan trying to snatch a lotus leaf infront by its

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72
open beak." The presence of swan evidently identifies the goddess to be Sarasvati. A gold coin of the Gupta style and fabric in the Indian Musem, Calcutta, datable Eo 6th-7th century A.D. has the figure of a goddess on its reverse.09 The goddess is nimbate, standing to left, holding lotus in outstretched right hand, behind her a lotus-plant and at her feet a hamsa (or peacock according to Smith). Allan
:
describes it as the goddess of Laksmi. But Banarjea states
that "the hamsa at the feet of the figure would justify us in identifying her as Sarasvati, the counter-part of Laksmi..> According to Gode," "If Banarjea's remarks are correct, we have in the above coins numistmatic evidence of tre 7th century A.D. about Sarasvati with hansa at her fee." . Besides, Sarasvati also appears on the coins of Na encravinata, a Bengal king of the late Gupta period as standing in tribhariga
posture.
Like numismatic remains, "we have a few representation of Sarasvati on seals and similar objects. co the many religious seals that were unearthed by Marshal at Shita,
there is one circular seal No.18, which contains a Vase
(bhadra-ghata) on the pedestal, below it is writtes i..
northern characters of the Gupta period, Sarasvati."
The
goddess of learning is thus represented here by means of
ghata emblem, as observes Banarjea."
It is remarcable that
the Purnaghata implies the same meaning as that of a river.

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73
But we do not have any other evidence to support that such symbolic worship of the goddess was prevalent, though the possibility can not be ruled out. However, here it can be mentioned that formerly in Orissa, when no earthern images of Goddess like Durgā, Sarasvati, Ganesha, Kali etc was worshipped, in its place only a 'Kalasha' or pitcher of water, sometimes topped with a cocoanut, was being invoked as the goddess and worshipped.
We
Sesides a round seal found at Rajghat with pot and
foliage on a pedestal and having gupta legend Sri Sarasvata
reminds us of the above Bhita seals."
Interestingly some monuments dedicated to the
goddess are also noticed in different parts of India and Nepal.
But their number is very less and the dilapidated condition
does not cive us a scope for study of their achitecture.
So far as temples dedicated to this goddess are concerned, mention may be made of Sāradăpitha at Kashmir (well known ir.
15th and 16th century A.D.)," sārada shrine at Mainar(miccie of 10th century A.D.),99 Sarasvati sadan at Dhar" (31th
century A.D. Sāradápitha at Sringeri (of Medieval period), Vāgesvari at Varanasi at Gadag 01 (Karnataka) (Medieval pericc).
Besides vagisvari temples in a village Thanjavur,"
Sarasvati
temple at sasar
ete-are-worth-noticed.
In Nepal also,
temples dedicated to the Goddess of learning are noticed at
various places of medieval period.
***

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1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
15.
16.
17.
14. Ibid, Vol.XIII, p.41.
18.
19
References
R.C.Mazumdar and Others, An Advanced History of India, London, 1963, p.134.
Ibid.
V.A.Smith, Jaina Stupas and Other Antiquities of Mathura, Allahabad, 1901, p.56.
Luder's Inscription, No.54.
N.P.Joshi, Catalogue of the Brahmanical Sculptures in the State Museum, Lucknow, p.63.
Ibid.
Ibid.
EI, Vol. XXXV, p.175, Verse 39.
Motupalli Pillar Inscription in EI, Vol.XII, p.190.
Ibid, Vol.VI, p.118, Verse 12.
bid, Vol.XXX, p.5, Verse 3.
CII, Vol.IV, Part I, pp.370-373.
bid, Vol.III, pp.204-205.
EI, Vol. VII, pp.153-54, Verse 9.
Ibid.
Ibid, Vol.II, p.230.
Ibid, Vol.XII, p.13.
Ibid.
74
N.G.Mazumdar, Inscriptions of Bengal, Vol.III, p.25ff. Rukmini Pradhan, Nepali Janjeevan ma Devi Saraswatika Sthana Ak Adhyana in Molam 8, No.1, December, 1980,
P.

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75
20.
Hariram Joshi, Saraswati in Ralamba edited H.Joshi, Kathamandu, July-September 1981, No.3, p.41.
21.
Ibid,
22.
Ibid.
23.
EI, Vol.VI, p.118, Verse 11. Hariram Joshi, op.cit, p.41.
24.
Ibid.
25. 26. 27.
Indian Antiquary, Vol.XII, p. 264.
M.Mukhopadhyay, Laksmi and Sarasvati in Sanskrit in Sanskrit Inscriptions in D.C.Sircar (ed.), Calcutta, 1970, p.107.
EI, Vol.XXXV, p.174. -
Joshi, op.cit, p.41.
Kantipura-Silalekhà suchi, (ed.) Sankarman Rajavamsi, Rashtriya Abilekhagar, Kathamandu, p.125.
EI, Vol. II, p.182.
31. 32. 33. 34.
Skanca Purāna, Brahma Khanda, Setu. 40. Padma Purāna, Uttara Khanda, III. Mukhopadhyaya, op.cit, p.108. EI, Vol.XIII, p.41. Ibid, Vol.XXIV, p.22.
35.
Hemachandra, Verse 39-46; Stein, Kalhana's (ed.), Chronicle of Kashmir, Vol.II, pp.279.
38.
EI, Vol.XXVI, p.88.
40.
CII, Vol.IV, Part-I, p.593. EI, Vol.xxxv, pp.171-73. Indian Antiquary, Vol.XVIII, p.216. CII, Vol.IV, Part-I, pp.637-641. Ibid, pp.576-578. EI, Vol.VIII, p.135.
42. 43.

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44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
EI, Vol.XIII, pp.259-60.
Ibid, Vol.V, p.144.
Ibid, Vol.XVIII, p.350.
Ibid, Vol.XL, p.195.
Ibid, Vol.II, p.14. CII, Vol.IV, pp.570-573.
EI, Vol.VIII, No.21.
CII, Vol.IV, Part-I, pp.570-573.
EI, Vol.II, p.182.
Ibid, Vol.XV, p.326.
CII, Vol.IV, Part-II, pp.463-470.
Ibid, pp.637-641.
EI, Vol.V, p.144.
Ibid, Vol. VIII, p.200.
CII, Vol.IV, Part-II, pp.570-573.
Ibid, Part-1, pp.370-373.
EI, Vol. IX, p.103.
Ibid, Vol.XXII, p.231.
Ibid, Vol. XXV, p.5.
Ibid, Vol.XIX, p.71.
Ibid, Vol. XXXVI, p.126.
CII, Vol.IV, Part-I, pp.370-373.
Ibid, Part-II, pp.570-573.
A.3utterworth and V.V.Chetty (ed.), Copper plate and Stone Inscriptions of South India, Vol.I, Delhi, 1989, pp.109-117.
76
D.R.Rajeswari, Sakti Iconography, New Delhi, 1989, p.27.
A. Butterworth and V.V.Chetty (ed.), op.cit, Vol.II, pp.505-506.
Gopinath Rao (ed.), Copper Plate Inscription belonging to Sri-Sankaracharya, The Sri Kamkoti-pitha, 1986,
pp.113-123.

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70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
88.
89.
90.
91.
92.
93.
Gopinath Rao (ed), op.cit, pp.133-38.
EI, Vol.VIII, p.98.
Ibid, p.103.
Ibid, Vol. XXXV, pp.171-173.
Ibid.
Ibid, Vol.XXXV, pp.183-184.
Luder's List of Inscriptions, No.952.
No.139 of the Madras Epigraphical Collection for 1938-39.
EI, Vol.XXV, p.325.
CII, Vol.IV, Part I, p.232.
U.P.Shah, Iconography of the Jain Goddess Sarasvati, p.204.
Devendra_Handa and Govinda Agrawal, A new Jaina Sarasvati from Rajasthan, in East and West, Rome, 1973, F.2.
M.N.P.Srivastav, Mother Goddess in Indian Art, Archaeology and Literature, p.134.
JIH, Vol.XLI, III, S.N. 123, p.690.
Ibid.
R.K.Mukherji, The Gupta Empire, p.35.
JIH, Vol.XLI, III, S.N.123, p.690.
Altekar, The Coinage of the Gupta Empire, p.328.
Ibid.
IHQ, Vol.XIV, no.2, p.307, June 1938.
J.Allan, CGC, BM, P1.XXIV, p.150.
IHQ, Vol.XIV, no.2, p.307.
JISOA, Vol.IX, p.137, 1941.
A.K.Coomarswamy, Eastern Art, Vol.1, P1.XXIII, p.50.
77

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78 94. 95. 96. J.N.Ba DHI A.K.Commarswamy, op.cit, p.50. J.N.Banarjea, DHI, p.97. K.B.Das and L.K.Mohapatra, Folklore of Orissa, New Delhi, 1979, p.92. www wwwwwwwwwwwwww.. Banarjea, op.cit, p.98. 98. JIH, Vol.XLI, Part-III, p.686. 99. EI, Vol.xxxv, pp.171-173. 100. JIH, Vol.XLI, Part-III, p.688. 101. Ibid. 102. Ibid. ** *