99-507: Gowri may refer to Parvati , a Hindu goddess Gowri (given name) , an Indian female name Gowri (1963 film) , an Indian Kannada film Gowri (2004 film) , an Indian Telugu film Gowri (2024 film) , Kannada-language musical film Gowri, Fars , a village in Iran Gowri, Iran (disambiguation) See also [ edit ] Gauri (disambiguation) Topics referred to by
198-503: A "theistic relationship" between the deity and devotee. The complete identification of the goddess with Shakti was not fully realised until the classical period of Hinduism. This period saw the epics Ramayana and Mahabharata including the Bhagavad Gita . They were largely complemented by Puranas , a body of literature that built upon the ideas of Upanishads but were primarily made up of myth and legend that proclaimed
297-775: A long period of time before. The Veda Samhitas are the oldest scriptures that specified the Hindu goddesses. The Rigveda and the Atharvaveda are the main sources of knowledge about various goddesses from the Vedic period . Ushas , the goddess of dawn was the most praised. Though male deities such as Indra and Agni have been more popular in the Vedic era, female deities were represented as personifications of important aspects like Earth ( Prithvi ), Mother of Gods ( Aditi ), Night ( Ratri ), and Speech ( Vāc/Vāk ). The Devīsūkta in
396-482: A male consort like other puranic era goddesses, here she takes powers from the gods–who all "surrender their potency to her" at the time of her manifestation. The Devi Mahatmya elucidated the goddess so meticulously that it clarifies the changeableness of her character and makes it clear that she cannot be classified readily as she is the embodiment of all facets of energy, which are described as concurrently "creative, preservative and destructive". The text described
495-478: A parrot sits near her right shoulder symbolizing cheerful love talk, seeds, and fertility. A parrot is found with Parvati's form as Kamakshi – the goddess of love, as well as Kama – the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with
594-577: A part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own. Parvati is portrayed as the ideal wife, mother, and householder in Indian legends. In Indian art, this vision of the ideal couple
693-464: A red dress (often a sari ), and may have a head-band. When depicted alongside Shiva she generally appears with two arms, but when alone she may be depicted having four. These hands may hold a trident, mirror, rosary, bell, dish, goad, sugarcane stalk, or flowers (such as a lotus). One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha ,
792-558: A righteous social life. Parvati declares her family life and home are heaven in Book 13 of the Mahabharata. Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in the mythology of India. Parvati, along with other goddesses, is involved with a broad range of culturally valued goals and activities. Her connection with motherhood and female sexuality does not confine
891-464: Is Navratri , in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India such as Gujarat, with her nine forms, that is, Shailaputri , Brahmacharini , Chandraghanta , Kushmanda , Skandamata , Katyayini , Kaalratri , Mahagauri , and Siddhidatri . Another festival Gauri Tritiya
990-403: Is also the goddess of love and devotion, or Kamakshi (the goddess of fertility), abundance and food/nourishment, or Annapurna . She is also the ferocious Mahakali that wields a sword, wears a garland of severed heads, and protects her devotees and destroys all evil that plagues the world and its beings. The apparent contradiction that Parvati is addressed as the golden one, Gauri, as well as
1089-548: Is bestower of power to both gods and humans. The prominent characteristics of goddess Vāc were later incorporated into the identity of Saraswati , who was a minor river goddess in the Vedas, but later became the goddess of knowledge and the "Mother of the Vedas". Most of the goddesses in the Vedic era were presented as wives of the gods. They had no special powers nor an individual name either, rather they took their respective husband's name with feminine suffixes, as with Indrani ,
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#17327907076811188-711: Is celebrated from Chaitra Shukla third to Vaishakha Shukla third. This festival is popular in Maharashtra and Karnataka, less observed in North India, and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu deities, pictures, shells, etc. below. Neighbors are invited and presented with turmeric, fruits, flowers, etc. as gifts. At night, prayers are held with singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh,
1287-536: Is closely associated with the festival of her son Ganesha ( Ganesh Chaturthi ). The festival is popular in Maharashtra and Karnataka . In Rajasthan, the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival. Another popular festival in reverence of Parvati
1386-466: Is closely associated with various manifestations of Mahadevi, including the ten Mahavidyas and the Navadurgas . Parvati is found extensively in ancient Puranic literature, and her statues and iconography are present in Hindu temples all over South Asia and Southeast Asia . In Hindu temples dedicated to her and Shiva, she is symbolically represented as the yoni . Parvata ( पर्वत )
1485-412: Is considered as the birthplace of Parvati and site of Shiva-Parvati Vivaha. Parvati is known by many names in Hindu literature. Other names which associate her with mountains are Shailaja (Daughter of the mountains), Shailaputri (Daughter of Mountains), Haimavati (Daughter of Himavan ), Maheshvari (Maheshvara’s wife) , Girirajaputri (Daughter of king of the mountains) and Girija (Daughter of
1584-716: Is considered his Shakti. In the Ramayana , Sita , the wife of Rama was his Shakti; in the Mahabharata , Draupadi was the Shakti of the Pandavas . In the Puranas Shakti gains in imprortance. The Markandeya Purana conceives Shakti as "pure consciousness " overseeing creation, preservation, and destruction; and identifies Shakti with nature or prakriti . It potrays he feminine (shakti) in various roles, such as
1683-544: Is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas , denoting the most important deities described in Abhinaya Darpana . The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati. Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati. Parvati
1782-421: Is derived from Shiva and Parvati as being half of the other, represented as Ardhanarisvara . This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati, respectively. In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows – being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband
1881-463: Is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices. Three images are central to the mythology, iconography, and philosophy of Parvati: the image of Shiva - Shakti , the image of Shiva as Ardhanarishvara (the Lord who
1980-550: Is different from Wikidata All article disambiguation pages All disambiguation pages Parvati Parvati ( Sanskrit : पार्वती , IAST : Pārvatī ), also known as Uma ( Sanskrit : उमा , IAST : Umā ) and Gauri ( Sanskrit : गौरी , IAST : Gaurī ), is one of the principal goddesses in Hinduism , revered as the goddess of power, energy, nourishment, harmony, love, beauty, devotion, and motherhood. Along with Lakshmi and Sarasvati , she forms
2079-508: Is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati, yield a vision of reconciliation, interdependence, and harmony between the way of the ascetic and that of a householder. The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of
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#17327907076812178-547: Is her form; woman is the foundation of the world, she is the true form of the body. In woman is the form of all things, of all that lives and moves in the world. There is no jewel rarer than woman, no condition superior to that of a woman. In the Smarta Advaita tradition, Shakti is one of the five equal personal forms of God, as in the panchadeva system, advocated by Adi Shankara . The Smarta tradition, also called Smartism, developed and expanded with
2277-492: Is her friend, refuge, and god. She finds happiness in her husband's and her children's physical and emotional nourishment and development. Their happiness is her happiness. She is cheerful even when her husband or children are angry; she is with them in adversity or sickness. She takes an interest in worldly affairs beyond her husband and family. She is cheerful and humble before family, friends, and relatives; she helps them if she can. She welcomes guests, feeds them, and encourages
2376-490: Is not a limiting condition. Parvati is seen as the mother of two widely worshipped deities — Ganesha and Kartikeya . Hindu literature, including the Matsya Purana , Shiva Purana , and Skanda Purana , dedicates many stories to Parvati and Shiva and their children. For example, one about Ganesha is: Teej is a significant festival for Hindu women, particularly in the northern and western states of India. Parvati
2475-409: Is on her knee, while her younger son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow. Bronze has been the chief metal for her sculpture, while stone is the next most common material. Parvati and Shiva are often symbolized by a yoni and a linga , respectively. In ancient literature, yoni means womb and place of gestation ,
2574-597: Is one of the Sanskrit words for "mountain"; "Parvati" derives her name from being incarnated as the daughter of king Himavan (also called Himavata, Parvata ) and mother Menavati . King Parvata is considered lord of the mountains and the personification of the Himalayas ; Parvati implies "she of the mountain". Aparneshara Temple of Yama, Udhampur in the Indian Union Territory of Jammu and Kashmir
2673-497: Is rather the gods who are completely subdued to the will of Devi, and are entirely dependent on her power. Scriptural texts such as Devi Bhagavata Purana , Kalika Purana , Markandeya Purana , and Mahabhagavata Purana held Shakti as the supreme over all deities and promoted her worship. In Puranic Hinduism , Shakti is the "energizing material power" of the Hindu Gods. "The God and his Shakti together represent
2772-427: Is regarded as Shiva’s shakti (divine energy or power), the personification of the creative force that sustains the cosmos. In this role, she becomes not only a mother and nurturer but also the embodiment of cosmic energy and fertility. She is the source of power that energises Shiva, who without her is incomplete. Parvati's mythology, therefore, is not just about her role as a wife but also about her cosmic function as
2871-408: Is separate from a deity and something which is not inherently present within it. In later Hindu texts , the idea of Shakti as divine feminine energy became more pronounced as wives of the gods began to personify the powers of their husbands. Despite arriving at this stage, it was only later, after a lot of philosophical speculation and understanding the connecting factor underlying the universe that
2970-418: Is sometimes shown with golden or yellow color skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests. In some manifestations, particularly as angry, ferocious aspects of Shakti such as Kali , she has eight or ten arms, and is astride on a tiger or lion, wearing a garland of severed heads and skirt of disembodied hands. In benevolent manifestations such as Kamakshi or Meenakshi,
3069-429: Is still subordinated to her consort's will. Though there was an individual goddess named śakti , the term referred to a quality held by both male and female deities. An apparent identity between feminine divinity and cosmic energy was not yet vouched. The perception of the divine feminine was radically altered by two texts: the earlier Devi Mahatmya and the later Devi Bhagavata Purana . The Devi Mahatmya , which
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3168-615: Is the Devi Bhagavata Purana . Compiled some five to ten centuries after the Devi Mahatmya , the Devi Bhagavata Purana presents a Shakta reply to the various puranic ideals. The Devi Gita , which forms skandha (book) 7, chapters 30–40 of the Devi Bhagavata Purana , is modeled after the Bhagavad Gita , but with a Shakta outlook. The Devi Bhagavata Purana is metaphysically more coherent than
3267-438: Is the lineal progenitor of all other goddesses. She is worshiped as one with many forms and names. Her form or incarnation depends on her mood. The Puranas tell the tale of Sati 's marriage to Shiva against her father Daksha 's wishes. The conflict between Daksha and Shiva gets to a point where Daksha does not invite Shiva to his yagna (fire-sacrifice). Daksha insults Shiva when Sati comes on her own. She immolates herself at
3366-407: Is the primary deity of the festival, and it ritually celebrates married life and family ties. It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in a green dress (seasonal color of crop planting season), while singing regional songs. Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for
3465-750: Is united with Mula Prakriti, 'nature'; shakti is a synonym for this unity of Turiya Brahman and Mula Prakriti. In the details of its philosophy and practice, Shaktism resembles Shaivism. However Shaktas focus most or all worship on Shakti as the dynamic feminine aspect of the Supreme Divine. According to this tradition, all Hindu goddesses are manifestations of the same goddess, Mahadevi , also referred to as Adi Parashakti, Adi Shakti, and Abhaya Shakti. Vaishnavas consider her to be Lakshmi ; whereas Shaivas consider her to be Parvati , Durga , Lalita and Kali ; while Shaktas believe her to be Durga , Tripura Sundari , Bhuvaneshvari , and Kali . In
3564-774: The Hindu tantric view, Shakti correlates with the Kundalini energy. Shakti is considered the "creative dynamic energy" that permeates and "animates" all existence. In the Brihannila Tantra , the God Shiva says: "O Goddess I am the body ( deha ) and you are the conscious spirit within the body ( dehin )". "Shiva without Shakti is but a corpse, it is said." Animated and inanimated objects like rivers, stones, trees, mountains are worshipped as embodiments of shakti. Women are believed to be inherently divine; coalescence of
3663-466: The Purana genre of literature. It reflects a synthesis of four philosophical strands: Mimamsa , Advaita , Yoga , and theism . The Smarta tradition rejects theistic sectarianism, and is notable for the domestic worship of five shrines with five deities, all treated as equal— Ganesha , Shiva , Adi Parashakti , Vishnu and Surya . The Smarta tradition contrasted with the older Shrauta tradition, which
3762-695: The Rigveda . The verse 3.12 of the Kena Upanishad dated to mid-1st millennium BCE contains a goddess called Uma-Haimavati, a very common alternate name for Parvati. Sayana's commentary in Anuvaka , however, identifies Parvati in the Kena Upanishad , suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of
3861-526: The Son River valley, where a triangular stone known as the Baghor stone , estimated to have been created around 9,000–8,000 BCE was found. The excavation team, which included Kenoyer , considered it is highly probable that the stone was associated with Shakti or the female principle. The representation of Shakti in a stone is considered an early example of yantra . Scholars assume goddess worship
3960-513: The devas (gods), the gods created an all-powerful goddess from their combined anger by channelling their essential powers that took the form of a feminine being, which was assented as the Mahadevi, the supreme goddess fully independent of the gods, and considered the embodiment of śakti with additional powers of her own. Here when she finishes her work, she doesn't return to her source, the gods, but instead vanishes. The Devi Mahatmya bolstered
4059-451: The menstrual cycle with the moon 's lunar cycle is held important. The menstrual blood ( Kula ) is revered and is offered in rituals to propitiate the deities. In some cases, Animal sacrifices have replaced menstrual blood offerings, however female animals are not sacrificed. The Shakta pithas , located across the Indian subcontinent , are believed to be the sacred seats of Shakti. At
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4158-457: The Absolute, the god being nonactivated Eternity, the goddess being activated Time." Shakti is generally personified as the wife of a specific Hindu god, particularly Shiva , for whom she took forms as Durga , Kali , and Parvati , forming complementary principles. "As the manifestation of the divine energy corresponding with Vishnu , she is Lakshmi ." In Hindu custom, the wife of a man
4257-668: The Goddess, or Devi , Shakti is "Universal Power". Shaktism regards Shakti as the Supreme Brahman . The Shakta Upanishads and the Shakta Tantras equated Brahman with Shakti, and held them as inseparable. According to V. R. Ramachandra Dikshitar (Professor of Indian history), in Shakta theology : "Brahman is static Shakti and Shakti is dynamic Brahman." Brahman is "the formless ultimate or Turiya Brahman," which
4356-786: The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family. Thiruvathira is a festival observed in Kerala and Tamil Nadu. It is believed that on this day, Parvati met Shiva after her long penance and Shiva took her as his wife. On this day Hindu women perform the Thiruvathirakali accompanied by Thiruvathira paattu (folk songs about Parvati and her longing and penance for Lord Shiva's affection). From sculpture to dance, many Indian arts explore and express
4455-466: The Puranas presented the goddesses as consorts of the gods. The Kurma Purana depicted the goddess Śrī or Lakshmi as a being lower to her husband, the god Vishnu, who "takes possession" of her when she appears at the churning of milk . Nevertheless, Lakshmi is later described as the impetus of Vishnu, who calls her "that great Śakti (potency) of my form". An association between feminine divinity and
4554-462: The Rigveda, addressed to the goddess Vāc , became the progenitor of goddess theology that evolved later. Here, Vāc states: "I bend the bow for Rudra that his arrow may strike and slay the hater of devotion. I rouse and order battle for the people, and I have penetrated Earth and Heaven". This hymn presented the goddess as an all powerful pervasive being, who is both "immanent and transcendent", and
4653-612: The Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism . This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out manifests in the form of ten terrifying goddesses who block Shiva's every exit. David Kinsley states, The fact that [Parvati] can physically restrain Shiva dramatically makes
4752-404: The all-pervasive Mahadevi as being both devi (goddess) and asuri (demoness), for she represents positive as well as negative aspects of power and energy. Here, the ultimate reality was completely equated with Devi, who is presented as the power enabling the trimurti —Vishnu, Shiva, and Brahma—to engage in the "preservation, dissolution and creation" of the universe respectively. Devi appeared at
4851-404: The altars in these shrines, Shakti is often worshipped in the form of a stone, which is painted red, considered the colour of Shakti, and is decorated with anthropomorphic features like eyes. From Devi-Mahatmya : By you this universe is borne, By you this world is created, Oh Devi, by you it is protected. From Shaktisangama Tantra : Woman is the creator of the universe, the universe
4950-693: The antelope, the symbolism for nature and the elusive, Tarjani by the left hand—representing the gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence. Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from the devotee. If Parvati is depicted with two hands, Kataka mudra—also called Katyavalambita or Katisamsthita hasta—is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish-fulfilling". In Indian dance, Parvatimudra
5049-460: The birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolizes the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri ) or as Annapurna (the goddess of grain) giving alms to Shiva. Shaiva's approaches tend to look upon Parvati as
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#17327907076815148-666: The birth of Parvati and how she married Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagavata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Parashakti . Pleased, Adi Parashakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. The stories go through many ups and downs until Parvati and Shiva are finally married. Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes
5247-416: The ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires, and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the daughter of Himavat and Mainavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat . According to different versions of her chronicles,
5346-546: The concept of the Mahadevi or the great goddess, an amalgamate of manifold powers, with numerous epithets. Besides the term Devi , the most general name of the goddess is Chandi or Caṇḍikā, meaning "violent and impetuous one", this was the first instance of the use of this term in a Sanskrit text and was probably conceived for this distinct incarnation, represented in aggressive and often unorthodox mode, with an affinity for drink and approval of blood offerings. The idea of independence and not confirming to widely held notions of
5445-399: The creative power of god was established when the goddess was projected as an embodiment of three important principles — "śakti (energy), prakṛti (primordial or primary matter) and māyā (illusion)". In the puranic era, even though the goddess was considered the source behind manifest creation, she was nevertheless a personification of her consort's energy and was referred to as prakṛti, who
5544-467: The dark one, Kali or Shyama, as a calm and placid wife Parvati mentioned as Gauri and as a goddess who destroys evil she is Kali. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and fertility. The divine hymns such as Lalita Sahasranama and Mahalakshmi Ashtakam give many Traditional epithets to
5643-413: The demon, Kali's wrath could not be controlled. To lower Kali's rage, Shiva appeared as a crying baby. The cries of the baby arouse the maternal instinct of Kali who reverts to her benign form as Parvati. Lord Shiva, in this baby form is Kshethra Balaka (who becomes Rudra Savarni Manu in future). In Skanda Purana , Parvati assumes the form of a warrior-goddess and defeats a demon called Durg who assumes
5742-434: The earlier Devi Mahatmya and includes a rendition of the later, with a retelling of the many pauranic myths. The Devi Bhagavata Purana repeatedly extols the goddess as the "Eternal" and "Ever Constant Primordial Force" who is also "the power behind all other deities". Of noteworthy, is the fact that the goddess of the Devi Bhagavata Purana is invariably presented as being "independent of any male authority and control". It
5841-403: The emergence of cosmic crisis, accordingly her role is assumed to be identical to that of Vishnu , who in his various avatars , vowed to manifest himself at the time of crisis. Devi, also, vows to manifest whenever her help is needed. The largest and possibly the most exhaustive Shakta purana, considered as "justification or vindication of the Goddess tradition, as well as an elaboration of it"
5940-656: The episode in such a way to leave no doubt that it was Śiva's spouse.." [IAST original]. Sati-Parvati appears in the epic period (400 BCE–400 CE), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th–6th centuries) and the Puranas (4th through the 13th centuries) that the stories of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non- aryan goddesses that lived in mountains. While
6039-530: The female creative energy of Shakti, which is prakriti , 'nature'. The term Shakta is used for the description of people associated with Shakti worship. The Shakta pithas are shrines, which are believed to be the sacred seats of Shakti. According to the Monier-Williams dictionary, Shakti ( Śakti ) is the Sanskrit feminine term meaning "energy, ability, strength, effort, power, might, capability", and "capacity for" or "power over". Though
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#17327907076816138-522: The feminine lover to experience the " lila " (divine play) of her divine consciousness. The Devi Bhagavata Purana presents Brahman as containing both male and female, purusha and prakriti , Shiva and Devi. The Devi Bhagavata Purana considers the nature of Shakti as being made up of three existential qualities, similar to prakriti in Samkhya : Sattva (calm and balanced), Rajas (passionate and active), and Tamas (lethargic and inactive). As
6237-422: The feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects state Gross, reflects the Hindu belief that the feminine has a universal range of activities, and her gender
6336-449: The ferocious, violent aspect as Shakti and related forms. Shakti is pure energy, untamed, unchecked, and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali (time). In Linga Purana , Parvati undergoes a metamorphosis into Kali, at the request of Shiva, to destroy an asura (demon) Daruk. Even after destroying
6435-408: The force that activates and sustains life. In various Shaiva traditions , Parvati is also regarded as a model devotee, and even viewed as the embodiment of Shiva's grace, playing a central role in the spiritual liberation of devotees. She is also one of the central deities in the goddess-oriented sect of Shaktism , where she is regarded as a benevolent aspect of Mahadevi , the supreme deity, and
6534-454: The form of a buffalo. In this aspect, she is known by the name Durga . Although Parvati is considered another aspect of Shakti, just like Kali, Durga, Kamakshi , Meenakshi , Gauri and many others in modern-day Hinduism, many of these "forms" or aspects originated from regional legends and traditions, and the distinctions from Parvati are pertinent. According to Shaktism and Shaivism traditions, and also in Devi Bhagavata Purana , Parvati
6633-597: The goddess based on the demons she had won over such as Mahishasuramardini (‘the One who killed demon Mahishasura ’), Raktabeejasamharini (‘the One who killed demon Raktabeeja ’), Chamundi (‘the One who killed the demon brothers Chanda and Munda ’), Mookambika (‘the killer of Mookasura’), Kolasurabhayankari (‘the killer of Kolasura’), Bhandasuravibedhini (‘the killer of Bhandasura ) and many more. The word Parvati does not explicitly appear in Vedic literature . Instead, Ambika, Rudrani and others are found in
6732-440: The goddess has been an intriguing trait in the character of Devi in the Devi Mahatmya . The goddess here, primarily identified as Durga , is not dependent on a male consort and she successfully handles male roles herself. In battles, she fights without a male ally, and when needed aide, creates female peers from herself like Kali . Also the ideation of the goddess as a personification of Shakti varies, instead of providing power to
6831-501: The goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolize at once both the power of renunciation and asceticism and the blessings of marital felicity. Parvati thus symbolizes many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to
6930-480: The idea of Shakti as being the feminine unity pervading all existence was developed. The Upanishads did not feature goddesses notably. However, the ideas devised during this period became significant in later conceptions of Shakti. The theory of Shakti advocated in Shakta Upanishads was predicated on the concept of Brahman , a gender-neutral Absolute . Brahman's all-encompassing nature gave rise to
7029-459: The idea of a connecting factor, called Atman , between the absolute and human. The early Upanishads postulated a transcendental absolute that cannot be depicted or understood, but be known only through Jñāna (insight, intuition). The later Upanishads however presented the idea of Saguna Brahman (manifest absolute), thus giving it an accessible form. The Shvetashvatara Upanishad portrayed Brahman as "manifest Lord or Īśvara ", thereby enabling
7128-501: The maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. Indra sends the god Kama – the Hindu god of desire, erotic love, attraction, and affection, to awake Shiva from meditation. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in
7227-409: The more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions. Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful, and benevolent. She typically wears
7326-415: The mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen on nurturing worldly life and society. Numerous chapters, stories, and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life. Parvati tames Shiva with her presence. When Shiva does his violent, destructive Tandava dance, Parvati
7425-542: The mountains). Shaktas consider the Parvati as an incarnation of Lalita Tripurasundari . Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's wife, who is the incarnation of Parvati) in earlier texts, but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa , Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who
7524-408: The parrot began when she won a bet with her husband and asked for his loincloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi). Parvati is expressed in many roles, moods, epithets, and aspects. In Hindu mythology, she is an active agent of the universe,
7623-404: The personified energy or power of a male deity and, more specifically, is identified as the consort of the god Shiva . In Tantric Shaktism, Shakti is the foremost deity, akin to Brahman. In Puranic Hinduism, Shiva and Shakti are the masculine and feminine principles that are complementary to each other. The male deity is purusha , pure consciousness, which creates the universe through
7722-460: The point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become
7821-606: The power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom, and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapts to the needs of circumstances in her role as the universal mother. As Mahakali , she identifies and destroys evil for protection, and as Annapurna , she creates food and abundance for nourishment. Several Hindu stories present alternate aspects of Parvati, such as
7920-410: The same activities as Shiva, one of asceticism, yogin and tapas . This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems. Parvati refuses to listen and insists on her resolve. Shiva finally accepts her and they get married. Shiva dedicates the following hymn in Parvati's honor, I am
8019-446: The same term [REDACTED] This disambiguation page lists articles associated with the title Gowri . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Gowri&oldid=1259198609 " Categories : Disambiguation pages Place name disambiguation pages Hidden categories: Short description
8118-455: The same, with their stories frequently overlapping. In Hindu mythology , the birth of Parvati is primarily understood as a cosmic event meant to lure Shiva out of his ascetic withdrawal and into the realm of marriage and household life. As Shiva's wife, Parvati represents the life-affirming, creative force that complements Shiva's austere, world-denying nature. Her presence in his life draws him from isolation into worldly engagement, thus balancing
8217-406: The sea and you the wave, You are Prakṛti , and I Purusha . – Translated by Stella Kramrisch After the marriage, Parvati moves to Mount Kailash , the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) – the leader of celestial armies, and Ganesha – the god of wisdom that prevents problems and removes obstacles. There are many alternate Hindu legends about
8316-486: The spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the latter represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is the householder's life – both feature as Ashramas of ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in
8415-462: The stories of Parvati and Shiva as themes. For example, Daksha Yagam of Kathakali , a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva. Shakti Traditional Shakti ( Devanagari : शक्ति, IAST : Śakti; lit. 'energy, ability, strength, effort, power, might, capability') in Hinduism , is the "Universal Power" that underlies and sustains all existence. Conceived as feminine in essence, Shakti refers to
8514-537: The story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva , the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva. Parvati's legends are intrinsically related to Shiva. In
8613-470: The supremacy of a particular deity and equated their nirguna (unmanifest) form with the Brahman. Most of these Puranas were dedicated to the male deities, particularly Vishnu and Shiva , the later Shakta puranas were allotted to the goddess. Shakti worship that receded in the Vedic period became prominent from the classical period during which she was personified as Devi —a goddess. Majority of
8712-561: The term Shakta ( Sanskrit : शक्त , Śakta ) is used for people and customs associated with Shakti worship. The term Shakta became popular from the ninth-century onwards, before that the term Kula or Kaula , which referred to clans of female ancestry, besides to the menstrual and sexual fluids of females, was used to describe Shakti followers. The origins of Shakti concept are prevedic . Sites related to worship of Mother goddess or Shakti were found in Paleolithic context at
8811-474: The term Shakti has broad implications, it mostly denotes "power or energy". Metaphysically, Shakti refers to the "energetic principle" of the fundamental reality, ideated as "primordial power". Shakti, is principally identified with the feminine , and with the numerous Hindu goddesses , who are seen as "tangible" expressions-visible personifications of the intangible Shakti. The formulation of such an idea for Shakti took place over many centuries. Relatedly,
8910-540: The trinity, known as the Tridevi . From her first appearance as a goddess during the epic period (400 BCE – 400 CE), Parvati is primarily depicted as the chief consort of the ascetic god Shiva . She is recognised as the reincarnation of Sati , Shiva's first wife, who immolated herself after her father insulted Shiva. Parvati is often equated with the other goddesses such as Sati, Uma, Kali and Durga and due to this close connection, they are often treated as one and
9009-407: The two poles of asceticism and householder life in Hindu philosophy. Parvati's role as wife and mother is central to her mythological persona, where she embodies the ideal of the devoted spouse who both supports and expands her husband's realm of influence. Parvati is also noted for her motherhood, being the mother of the prominent Hindu deities Ganesha and Kartikeya . Philosophically, Parvati
9108-501: The well-being of their husbands and visited their relatives. In Nepal, Teej is a three-day festival marked with visits to Shiva-Parvati temples and offerings to linga. Teej is celebrated as Teeyan in Punjab. The Gowri Habba , or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada ( Shukla paksha ). Parvati is worshipped as the goddess of harvest and protector of women. Her festival, chiefly observed by women,
9207-410: The wife of Indra . Though the goddesses had no power, one Rigvedic hymn (10.159) addressed Indrani as Śacī Poulomī and presented her as the " deification " of Indra's power. The term Śacī meant "the rendering of powerful or mighty help, assistance, aid, especially of the 'deeds of Indra'." This use of the term Śacī is seen as a major step in the later conception of Śakti as the divine power that
9306-436: The word Uma appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Hamsa Upanishad . Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra. In other words, the symbolism, legends, and characteristics of Parvati evolved fusing Uma, Haimavati, Ambika in one aspect and
9405-511: The world. She appears as the shakti , or essential power, of the Supreme Brahman . Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic Trideva of Agni , Vayu , and Varuna , who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell
9504-714: The yoni-linga metaphor represents origin, source or regenerative power . The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga , it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some depictions, Parvati and Shiva are shown in various forms of sexual union. In some iconography, Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing
9603-465: Was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). Uma also means that "the One born out of Om ( The Pranava Mantra) She is also referred to as Ambika ('dear mother'), Shakti ('power'), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), Urvi or Renu , and many hundreds of others. Parvati
9702-522: Was initially part of the Markandeya Purana , is the most prominent goddess-centric text that clarified the concept of an all-encompassing goddess or the Mahadevi (great goddess). Allegorically, through the mythical warring deeds of the goddess, it was asserted, rather by a deduction than by plain words that she's the "ultimate reality". When the asuras (demons) endangered the existence of
9801-577: Was prevalent in the Indus Valley Civilisation (3300–1300 BCE ) as many terracotta female figurines with smoke-blacked headgears , suggesting their use in rituals, had been found in almost all the houses of Mohenjo-daro and Harappa . Numerous artefacts that appear to portray female deities were also found. This development however is not assumed to be the earliest precursor of goddess worship in India; it has evolved for over
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