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Several complete sets of the Dikpalas with their respective consorts are found both in situ and in the numerous museums all over the country (For two such sets see Appendix A). But independent images of these goddesses (individually or collectively) are hardly witnessed anywhere. Neither does any text on iconography refer to their individual and independent attributes to identify them nor any of them suggest any norms for portryal of these goddesses apart from their overlords.
But what about the Dik palini-Matrikas, or say, the Dikpallnis ? MATRIKAS-MEANING AND SIGNIFICANCE
The word 'Matrika' literally means 'a mother'; but in a technical sense the Matrikas are the physical representatives of the potency or energy of the male deities. According to the Shakta tradition all the diffe. rent gods are adored for the different qualities and quantities of Energy embodied in or manifested through them. Devoid of their galvanizing vitality, these gods would be just dull, faceless, inert and insignificant figures. By the Grace of Shakti only 'Shava' becomes 'Shiva', 'Pashu' is raised to the status of Pashupati' and 'Sthanu' is transformed into 'Mahadev' or 'Mahesha'. It is the Energy (Shakti which actualizes and expresses itself through these several vehicles or channels. It lends them such a high status, potency and significance that they get raised to the level of gods.
Each of the several gods and goddesses has a special aspect, degree and quality of the Energy of the Supreme Shakti working and revealing through him or her. Still She and Her Energy remain unaffected, ungragmented and perfect because she is Eternal, Indivisible and Free from any tinge of imperfection. All forms are Her Forms. Still sbe is Formless. She is the Inner Essence which bestows identity/individuality on everybody and everything and yet she retains Her basic Personality and intrinsic identity.
However, the Shakti of any particular god should not be confused with his consort because the better-half is simply that god's companion at the best while the Shakti is his prime support, his motive-and motor-power which activates him and lends him significance and status.
This distinction is very vital for understanding the role of different goddesses some of whom are just consorts while some others are Shaktis. No Shakti can ever be portrayed as a consort of any god and represen. ted in his embrace or by his side as his spouse.
Sometimes even reputed texts fail to observe the distinction and fall into fatal error of treating consort as Shakti For example, the Nrsimha-Purva-Tapaniya-Upanishad (Ch. 3) has called the Vaishnavi as Shridevi, Nrsimhi as Shrilakshmi, Maheshvari as Ambika, Brahmapi as Sarasvati, Kaumari as Shasthidevi, etc., The Mudgala Puranal has mistakenly called Siddhi the consort of Ganapati, as his Shakti. In iconographical texts Savitri and Brahmani, the consort and Shakti of Brahma respectively, are represented with the same articles and vehicle which is incorrect. This is due to mistaking Savitri as the wife of Brahma. She is, in fact, Brahmani, the Shakti of that god. His consort is Sarasvati. It was only in the later period that Savitri came to be confused with his better-half and Shakti simultaneously.
This confusion is understandable and can be explained. Once the concept of the Shaktis and their Shaktimanas was quite different than what came to be accepted in the later days. For example, Savita and Savitri, Agni and Prthvi, Varuna and Apa, Vayu and Akasha, Yajna and Chhanda, Megha and Viddhuya, Aditya and Dhyuloka, Chandra and the Nakshatras, Mana and Vani, and Purusha and Stri constituted the pairs of the Shaktimanas and their Shaktis. Later on the concept of Shakti and his male counterparts were distinctly defined though no clear guidelines were laid down for their differentiation and distinction.
1. Mudgala P. 2/52/9-11. 2. Savitri. Upa. VV. 1-9.
जैन इतिहास, कला और संस्कृति
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