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A Unique Tradition of Feminine Power
The descriptions of the Goddess can be found primarily in the Brahmanda Purana and Markandeya Purana. The Lalita Sahasranama is referenced in the Brahmanda Purana, while the explanations of Shakti and Devi Mahatmya can be found in the Markandeya Purana. The Narada Purana or Naradiya Purana also features descriptions of the Goddess along with Vishnu, Shiva, Krishna, Rama, and Lakshmi. Additionally, the Varaha Purana mentions Durga alongside Vishnu and Shiva. The Markandeya Purana, Shiva Purana, Linga Purana, Brahma Vaivarta Purana, Agni Purana, and Padma Purana delve into the details of the Goddess and Tantra practices. The eighteen Puranas are classified based on the three gunas: Sattva, Rajas, and Tamas. The Puranas dedicated to the Goddess fall under the Rajas category. During the Puranic period, the Goddess was portrayed as a supreme force.
Gradually, the Vaishnavas (followers of Vishnu) adopted the practice of Devi worship from the Shaivas (followers of Shiva). The Devi Bhagavata Purana expanded upon the Devi Mahatmya, providing more detailed accounts. It offers a clear reflection of the Shakta (Goddess-worshipping) philosophy. The Devi Bhagavata Purana emphasizes the superiority of the Goddess over male deities. In this text, the Goddess appears more as a guide and counselor to her devotees rather than a warrior, although she does take on warrior forms less frequently. The Devi Mahatmya marks the beginning of an independent Shakta tradition, establishing a unique line of thought within the feminine path.
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The first section (Skandha) of the Devi Bhagavata discusses the three forms of power represented by Maha Lakshmi, Saraswati, and Maha Kali—each corresponding to one of the three gunas: Brahma (Sattva), Vishnu (Rajas), and Rudra (Tamas). It explains that these three forms of power are responsible for the creation of the Trimurti (Brahma, Vishnu, and Rudra). The twelfth section (Skandha) contains stories about the form of Gayatri and her significance, as well as other narratives such as those found in the Kenopanishad. In the Devi Bhagavata, the Goddess is depicted as an indescribable force of Maya (illusion) stemming from the Supreme Consciousness (Parabrahma). The Trimurti themselves are born from this aspect of the Goddess. Lakshmi, Saraswati, and Durga are considered parts of this Shakti. From one perspective, the Goddess is the mother of the Trimurti, and from another, she is their consort. She is the embodiment of both the Parabrahma and its power.
Brahmavidya and Srividya
Brahmavidya refers to the knowledge of Brahman (the supreme reality), while Srividya is the knowledge of the Goddess. Essentially, both are the same. While Brahmavidya includes the sacred syllable Om (Pranava), Srividya incorporates the seed syllable Hreem. Hreem is also called the seed of Maya or the Bhuvaneshwari seed. Just as a seed grows into a tree, flowers, and fruits, various forms of the Goddess, such as Maha Kali, Lakshmi, and Saraswati, manifest from the Hreem mantra. The worship of the Goddess can also be viewed as an inner pilgrimage (Antarika Teertha Yatra). Maha Saraswati (Sattva), Maha Lakshmi (Rajas), and Maha Kali (Tamas) are representations of the three gunas.
What Does the Idol of Durga Symbolize?
The idol of Durga represents the Supreme Soul within us. The trident (Trishula) held by Durga symbolizes the three gunas. Her four arms represent Sattva, Rajas, Tamas, and Ahamkara (ego). The conch shell represents mystery and symbolizes Rajas. The chakra (disc) signifies the mind, the arrow symbolizes the pure form of Maya (Sattva), and the mace stands for the force that dispels ignorance. The lotus flower in her hand represents the 24 elements of creation.
The Goddess’s Various Forms and Roles
The intriguing question that often arises is: Is God male or female? Parabrahma is both Nirguna (without attributes) and Saguna (with attributes). Nirguna means beyond gender, while Saguna means God can be either male or female. The Shakta scriptures declare the Goddess as the ultimate truth. Here, the worship focuses on Adi Shakti instead of Parabrahma, as she is considered the mother of all creation. The Goddess appears in various forms—Durga, Chandi, Maha Kali, Maha Lakshmi, and Maha Saraswati—to fulfill different purposes. Like other sacred texts, Devi Mahatmya also contains multiple layers of truth. The first layer deals with the external world, the second focuses on the internal mental realm, and the third delves into the transcendental level. The fourth level connects all three.
At one level, Devi Mahatmya appears as a historical account of the war between the Goddess and demons. On another, it reflects the struggles of life itself. At yet another level, it represents the internal battle between positive and negative forces within the human mind, akin to a war between gods and demons. The human consciousness is the battlefield, and the events in the text symbolize our own experiences. The Goddess, in this context, is both the Supreme Devi and a collective manifestation of other deities. She confronts the demons of extreme tamas (inertia) and rajas (excessive activity), which arise from ego and self-centeredness. These qualities influence negative tendencies such as greed, anger, and pride. Devi Mahatmya also touches upon the Sankhya-Yoga philosophy.
By Jalancharu Raghupathi Tantri, Udupi