Jignasa Journal Of History Of Ideas And Culture Part 02

Author(s): Vibha Upadhyaya and Others
Publisher: University of Rajasthan

Page 90

306
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Jijñāsā
some form together with a Bhairava, i.e., a form of her husband Siva."78 The text of Pithanirnaya or Mahāpithanirūpana, which seems to have been prepared in late medieval period, while debating the origin and the evolution of the conception of the Pithas, advanced their recognized number as fiftyone. Significantly Jrānārnava Tantra recognizes the number of the Pithas as fifty, and at the count of ten has Arbuda. Yet an earlier text gives an extended list of the tradition of one hundred and eight Pithas, which is discerned for the first time in the Matsya Purāņa, chapter thirteen, the particular section has been assigned to the early medieval period, and references are made to Māņdavyapura (Mandor, Jodhpur). The same text has been quoted in Devībhāgavata (VII, chapter thirty) which refers to the holy places, associated in this work with the different manifestations of the mothergoddess and of her consort, as Pīthas, mentions of the mother-goddess Pūruhūtā and the holy place as Puşkara, at number fifteen. Further is opined that "the idea of the Pītha, associated with the certain limbs of the mother-goddess. seems to be essentially connected with that of the Linga or phallus. The worship of the Linga of the great god Siva originated from the conception of the god as the father or the procreator. But in the matter of the beings the Yoni (pudendum muliebre) of the mother-goddess should naturally be regarded as much important as the Linga of the father-god."83 The association of these concepis was noticed to be of non-Aryan influence on the culture of the Indo-Aryans.
Though the independent goddesses' temples are limited to the Pipalā Devi and Saciyāmātā temples, and are believed to be of later times, yet the images of goddesses can be evidenced from the earliest temples. 84 They are both in malevolent or malign and benevolent or the benign aspects, where Mahisäsurannardini is the most popular manifestation in malevolent or the ugra form of Sakti, and the sauny or the benevolent forms are in the identities of Laksmi, as also Gajalaksmi, Pārvati, Skandamātā, Smgāra Durgā, Simhavāhini Durgā, Vāyāvī, Mātrikā-s, Gangā and Yamunā. The malevolent forms of Sakti are discernible in the images of Mahişāsuramardini, Chandikā, Chāmundā, ģītalā,Kşemankārī etc. These various aspects of sakti are visible sculpted in the jagati, adhisthäna, janghand the sikhara of the temples. Interestingly the maximum numbers of Devi images are of Mahişāsuramardini and these have been found in abundance from the earliest temples. Osiān's Durgā image of eighth century A.D. is considered to be "beautitudinous smile, tenderly looking eyes, massive breasts, peculiar grace crept in the grace of the body, mixed with simplicity provide this image an expressionism uniquely its own."*6The same complex also houses another neglected image of "supple bodied goddess standing in samabhanga pose on a lotus supported by two lions, identified by Dhaky as Ksemankari. The present cult-icon is considered to be 'a late one' but of Mahişāsuramardini, and the depiction of her is also on the eastern side of the pinnacle and the front of this sanctuary.88 The uneven practice of fixing a number of arms to them, can be seen in the various numbers of arms' given to them, such as in the four-armed form she is imaged eight times, as eight-armed three times, and as twelve-armed one time, but of course with appropriate attributes validated in the textual references.*
Rajasthan has yielded some very early images of Mahişāsuramardini suggesting the popularity of her veneration at an early date, for this popularity continued and was seen to have been intensified during the seventh century AD. all over India.” At Osiān a great centre of Devi worship, her earliest representation at the pratiratha-rathikā of the northern wall of Hari-Hara Temple No. 1 contains the earliest Mahişāsuramardini. In all representations Mahişāsuramardini Durgā is heavily bejeweled, from the diadem to the anklets in her feet, and the bodice is finely etched and the lower garment