5. The treatment of Shakti concept in Isanasivagurudeva-paddhati

The treatment of Sakti concept in Isanasivagurudeva-paddhati Devi In Isanasivagurudeva-paddhati, the Devi concept enjoys a position almost as important as that of Siva. Mainly in Patalas from 17 to 26 of Mantrapada as well as in other Patalas, the author describes the multifarious aspects or Bhavas of the Devi, in Dhyanavarnanas in classy and picturesque style. Among them the Tripura, Vagisvari, Hamsavagisvari, Dasaksarivagisvari, Siddhavagisvari, Sakti, Tvarita, Nityaklinna, Vajraprastarini, Nitya, Matrkamalini, Pancadurga, Sulini, Mahisasuramardini, Asuramardini, Vindhyavasini, Yudhapriya, Vanadurga, Vasudhara, Triputa, Akrsthisakti, Annapurna, Matamgika, Matrdevi, Gauri, Srihrdaya, Caturhasti, Srirekha, Kamalavasini, and Puspitagralaksmi aspects of the Devi stand out for their special features. Besides, the descriptions of Saptamatrkas and Yaksinis are provided in Mantrapada M.G.Sasibhooshan has also mentioned in his book on how Isanasivagurudeva-paddhati deals with various forms of Saktidevatas. 107 In the Matrkanyasas and other Nyasas the author describes Matrkas (Aksaradevatas or Nyasadevatas) as the symbols of Sakti in Dhyanarupas and Sutrarupas. The concept of mother Goddess is one of the most ancient concepts of worship in Kerala. This form of worship can rightly claim an antiquity as old as the Mahasila-yuga (Early Stone Age) 108 208

Tantrics and Mantrics also worship the Devi, as the symbol of Sakti (Power). Many of the old fables in Kerala are replete with episodes where Mother Goddess is invoked as a deity of power. The Devi as Mother Goddess is being worshipped in Kerala in various forms like Nagayaksini, Yaksini, Camunda, Bhadrakali, Rurujith, Kurumba; and in several aspects of Durga, Laksmi, Jyesta, Parvati, Saraswati, Bhuvanesvari, Tvarita, Annapurna, Srividya, Sulini, Matarigi, Saptamatrkas, and the others. Many other images of the Devi, not familiar to us now, have also been fabled to have been popular in Kerala in ancient times. A point of special mention in this context is the prevalence of snake worship in Kerala from time immemorial to the present day in keeping with the Saiva tradition. Here again the added importance to Nagayaksi, is to be seen as an aspect of Mother Goddess. Many of the Devatas mentioned in Tantric texts that preceded the authentic texts Putayur Bhasa, and Tantrasamuccaya, are seldom worshipped anywhere in Kerala. Virtually every Devata mentioned above has been described in several Patalas of Isanasivagurudeva-paddhati as important objects of worship, the notable exception being Bhadrakali, whose power is sought to be invoked in connection with certain Mantric rites in much the same way as Yaksinis and their powers are summoned as part of sorcery. 209

The Devi concept and the varying aspects of the Devi are exhaustively dealt with in Isanasivagurudeva-paddhati, and they fall into well-defined classifications along with Dhyanavarnanas. Tripura Worshipped in Kerala on a very limited scale, the Tripura aspect of the Devi and Her powers are invoked in connection with Tantric and Mantric rites, and therein lies its importance. In Isanasivagurudeva-paddhati, the Tripura attribute of the Devi is given thus: Wearing the crown on the head with abundant and curly hair that also wears the crescent moon, golden in complexion like Gorocana, adorned with red ornaments, holding the Aksamala and Pustaka (Holy Book) and displaying Abhayavaradamudras in the hands, Ratnakundalas on the earlobes, high breasts covered with exquisite garlands, rings studded with jewels, bangles on the upper arms, feet adorned with bejewelled anklets, as the very epitome of brightness of beauty and showering blessings and granting every wishes of the seekers, stands Tripuradevi at whose feet we bow in prayer. 109 The Tripurasundari aspect of Goddess Srividya, which is a very popular form of worship in Kerala, is, according to Saradatilaka, the same as this Tripura version of Devi. The two are obviously one and the same deity. 110 210

Vagisvari There are three versions of Vagisvari- Hamsavagisvari, Dasaksarivagisvari and Siddhavagisvari. Dhyanavarnana are common to Dasaksarivagisvari and Siddhavagisvari. Hamsavagisvari In complexion as fair as the moon; displaying Varadamudra and holding the Holy Book and Veena in the hands; ebullient in Trinayanas, curly hair, the crown and the crescent moon; embellished with an assortment of beautiful garlands, shines in glory, Hamsavagisvari. 111 Dasaksarivagisvari As fair and beautiful as the jasmine flower; with Trinayanas, crescent moon on the head, clad in white; bearing garlands of flowers, the Holy Book and the pen (Lekhani or Ezhuttani) and displaying Abhayavaradamudras on the hands, shines Bharati (Devi) in eternal radiance.112 This concept of the Devi, also known as Vidyadevata, is in conformity with the Saivite tradition and was once termed Saivasarasvati and this aspect of the Goddess is very popular in Kerala. Seated on the white lotus, bearing the crescent moon on the crown of curly hair, Saivasarasvati, as per the Saivite cult, is entirely different from the 211

concept of Sarasvati, the spouse of Lord Brahma. There is a school that maintains that Saivasarasvati is a transormed version of Tripurasundari or Paramesvari. 113 The literary works of Malayalam are rich and dependable sources of information on the Saivasarasvati concept. Purnasarasvati, prominent among the commentators of the works of Kalidasa was said to be an ardent devotee of Saivasarasvati. 114 There are also several single, self-contained Slokas of unknown authorship on Saivasarasvati. Moreover, prominence is assigned to this concept in the murals and sculptures of temples in Kerala. The Devi invoked in Kalyana-saugandhika [kalyanasaugandhikam], considered to be the first Tullal Krti of Kuncan Nambiar, and referred to as 'Vellasarasvati' (White Sarasvati) is Saivasarasvati 115 Matangi Matangi is worshipped and meditated upon and invoked by certain Mantrics of Kerala for 'Sarvavasyam' (fulfilment of all wishes through 'Vasyam'-luring with magic spell); the Devi, therefore, is conceived in a very physically attractive and enticing aspect as one longing for enjoyment, playing on the Veena, robed in attractive blue attire, lips as ruby red as Bimbaphala, eyes as dainty and as long as lotus petals, blue and as alluring as the Nilolpalapuspa, with heavy and high breasts, unkempt, loose and careless hair in bewitching beauty, 212

face as fair and smiling as the jasmine flower, adorned with conch and garlands of beads, and with soft, velvety feet, and residing at Her charming best. The Devi here is the very epitome of Lasyabhava (enchanting aspect). Matangidevi is also considered to be the ninth aspect of 'Dasamahavidya', which in turn are the ten aspects of Goddess Sakti. 116 Although the above description appears to be that of Sarasvati (Vinapani), it is closely related to Saivasarasvati. 117 The author of Isanasivagurudeva-paddhati further prescribes that the idol of Sarasvati should be installed in conformity with the Saivite edicts, which is proof enough to the Saivite origin of the Sarasvati concept. 'vagikhari pratisthayam saivoktamargatah 118 In 'Sarasvatipratisthadhikara' the Madhyamadasatala Vigrahavarnana and Dhyanas of Sarasvati are provided in detail. Fair in complexion, having four hands, holding 'Narayam', Kalasa, pustaka, and displaying Varadamudra in the arms, shining like the Sankha and jasmine flower, the head adorned with the crescent moon, as Trinayana, attired in white robes, adorned with garlands of beads, flowers and ornaments; body covered with fragrant Lepanas, in high breasts, and with bright and delightful face resembling the white 213

lotus, embellished from head to foot in jewels, remaining seated on the lotus flower, and above all, in the sprightliness and fullness of youththe idol of Sarsvati should be sculptured. 119 The Dhyanavarnana of Sarasvati, however, differs noticeably in many respects from the features provided in the Vigrahavarnana. To quote M.G.Saibhooshan, Balasarasvati is red in complexion, Saivasarasvati is white, and Matangi is black. 120 There are several idols and murals in temples of Kerala that incorporate the aspects and features of Sarasvati provided above. Laksmi Subsequently, inPatala 20, (Mantrapada) the author provides detailed descriptions on various Mantravidhanas, Dhyanas, rites and rituals pertaining to various aspecs of Laksmidevi among which are Srihrdya, Caturhasti, Srirekha, and Kamalavasini. Laksmidevi is a Vaisnavite deity, considered very important b the people of Kerala, though there exist only very few Laksmi temple in the State. She shines resplendent as the consort of Visnu and the various aspects of the Devi named above are the powers of Visnu. There are several scptures and mural paintings depicting Laksmi and her various aspcts like, Astalaksmi, Gajalaksmi, Deepalaksmi, Nrsimhalaksmi, Lamigopala (Srikara), Laksminarayana, 214

Laksmivaraha, and others in temples of Kerala. Literary works in Malayalam also provide Varnanas on Laksmidevi. Yet Laksmipuja has not been given the kind of importance in Kerala enjoyed by Durga and Kali. Srimadbhagavata provides details on the origin of Laksmidevi 121 The Isanasivagurudeva-paddhati, attaches greater importance to rites and rituals than to Dhyanavisesas or Varnanas pertaining to Laksmidevi. 122 Sakti concept The author provides more Varnanas and Dhyanas on Saktidevatas wherin the Devi is described from foot to the crowned head, detailing each and every Ariga and its embellishments and ornamentations in truly Saktic aspects. In them the mildest to the most fierce aspects of the Devi are treated. 123 Hrilekha Yet another aspect of Saktidevi is Hrllekha and the Dhyanavarnana is as follows: Seated on the lotus throne in the middle of a gorgeous Kalpakodyana, as an eight-year-old girl in divine glow like Bhandhukabha (the brightness of Uchamalari-flower), the radiance of the moon and the flash of lightning (Vidyunmala); clad in red silk and in Trinayana, reigns Hrllekhadevi, 124 215

The Sloka is couched in the metre, Vidyunmala. It is a speciality of the author to include the name of the metre employed in the Slokas in the bodies of the Slokas themselves as a rule rather than an exception, and this Sloka is a typical example. Moreover, he achieves this in a manner that is in perfect harmony with the total scheme of the Slokas, i.e., without ever jeopardising the meaning of the Dhyanas. Bhuvanadhipati Bhuvanadhipati is an aspect of Goddess Parvati, and is described thus: Robed in red silk, radiant in red complexion, bearing the crescent moon on the crown of hair; with Trinayanas, embellished all over with precious stones, bejewelled ornaments, garlands of beads and flowers, accompanied and served by her Sakhi, fanning Vencamara, and Chattra, gleams Parvati as Bhuvanadhipati. 125 Another aspect of Saktidevi is described in connection with Ekadasavaranapuja, thus, which again is an aspect of Parvatidevi: In a beautiful garden atop the tall peak of the Himalayas, remaining seated on the lotus of jewels like a jewel Herself, under the shade of jewel-like Kalpakavrksa resides the Devi in radiance.126 216

Krura-saumya aspect In a ritual called Krura-Saumya, the Devi is conceived as embodying contrary attributes like fierceness and gentleness and is described thus: Sitting astride the Vahana, Bhujangaraja (garuda); attired in leopard skin; holding the skull and the Trisul, and displaying the Abhaya-varadamudras; presides the Devi as the very incarnation of the Krura and Saumya aspects of Saktidevi. 127 Another Dhyana closely resembling the above, with very minor variations, is also given in this Patala 128 The remaining part of the Patala is devoted to Dhyanas pertaining to Saktidiksa, Ayudhapuja, Darpanapuja, and for certain rites to attain victory in battles. 129 Tvarita Patala 22 of Mantrapada provides a graphic description of the Tvarita Bhava of the Devi. Tvarita is represented as Gauri in the guise of a tribal woman in all that typifies a tribal appearance. This aspect has its connection with the appearance of Siva as forest dweller (Kattala), before Arjuna who was performing Tapas to gain His blessing and the Devi too is presumed to have accompanied Him assuming the same garb. The following Sloka in Isanasivagurudeva-paddhati evidences the above story: 217

sankarena vijayasya tapobhistositena varadena vanante | yakiratavapusa saha gauri svagata jayati sa tvaritakhya | | 130 Tvaritadhyanavarnana may be translated thus: Black in complexion, with abundant jet black hair, resembling a swarm of black beetles, crown of gold adorning the head that also bears the crescent moon, with high breasts, narrow waist, beautiful fingers, arms and feet; burnished earrings, garlands of white flowers, holding the umbrella, hand fan and the flag in the arms, and accompanied by the wild peacock, with Sabarika and others forming her Parivara ( retinue) remains the Devi in all splendour. 131 Nityaklinna Robed in silk, embellished in bejewelled ornaments, with high breasts, in Trinayanas; bright like the glow of the full moon, bearing the crescent moon on the hairy crown, having five arms, on which She holds the Pasa, Ankusa, Parijatapuspa, Kapala and Amrtakumbha and as the epitome of beauty from head to foot, resides the Devi providing protection to all. 132 The Devibhavas referred to above like Nityaklinna, Vajraprastarini, Nitya, and Matrkamalini are in fact the various manifestations of Sakti. However, they are invoked in connection with Upasanamargas. 218

Durga Numerous Dhyanas are furnished by the author for the diverse Bhavas of Goddess Durga, sometimes offering a common Dhyana for several aspects and at other times giving multiple Dhyanas for the same aspect (Bhava) of the Goddess. A typical Dhyanavarnana among them is given below: We bow in obeisance to Durgadevi standing aglow, armed with Cakra, Sankha, Capa, Bana, Kheda, Tarjani, Khadga, and Sula; with Trinayana; adorned with the crescent moon, attired in silk; and sitting astride the lion in readiness for battle, accompanied by her entourage of maidens. 133 In Patala 25th of Mantrapada, the Vanadurga, Sulini, and Mahisamardini Bhavas of the Devi are elaborately described. Three separate Dhyanavarnanas are also provided in addition to the retributive aspect of the Devi. Vanadurga 1. Sitting on red lotus, seat placed atop a throne in the middle of a platform, surrounded by a garden full and rich with manyhued flowers, hovered overhead by beetles and the like as well as Kalpakavrksas, bowers, lakes, snow-covered mountains, presides the Devi in Her most pleasant aspect displaying benign smile on Her divine countenance. 134 219

2. Sitting atop a lion that glows bright like jewels, displaying Tarjanimudra, holding the bow, the arrow, the Cakra, the sword and the trident in the arms; with Angada (shoulder ornaments) and the crown, attired in silk, embellished in garlands and other ornaments, resides Durgadevi on whose feet we bow in prayer. 135 3. In golden complexion; seated on a golden lotus; armed with Sankha, Cakra, and Abhayavaradamudras; robed in white, with Trinayana, in divine glow; embellished with garlands of gold, jewels, beads and flowers; carrying the crescent moon on the crown, and sitting in the midst of maidens, presides Durga who is meditated upon. Satrusamharadhyanas of Durga 1. 136 Durgadevi presides in Her retributive form, heavily armed with the Sankh, shield, skull, Musala, Mustimudra, club, Ankusa, sword, arrow, trident, Kulisa, Agni, and Pasa; with Trinayana; attired in leopard skin; sitting atop the lion and embellished with serpents. 137 2. In a riding posture atop the lion with 16 hands, in appearance like the flash of lightning; in the company of Vidyut, Prabha and Bhisana; robed in red silk, wearing red garlands and in the company of Saptamatrs, stands Durga for the purpose of Mahasuravadha, whose fierce form is meditated upon for victory in battle. 138 There is also another Dhyanavarnana that pertains to 220

Svapnadurga, a variant version of Durga, but meant to be invoked only in connection with Mantric rites. Mahisamardini Armed with Kheda, Dhanus, Gada, Nandaka, Sara and Ankusa, attired in red silk, as bright as emerald, with Trinayana, adorned with crown and all, resides Mahisamardini granting all the wishes of devotees. 139 Sulini In blue complexion embellished all over with the crown and other paraphernalia and armed with Ayudhas, reigns Sulini as Sumukhi,seated on Her Simhavahana in golden radiance. 140 Khadgadurga This is a very common Dhyana of Durga and is given thus: Armed with Cakra, Sankna, Knagga, and Sula, in complexion alternating between blue and red; with Trinayana; in fierce aspect, having killed the Raksasa, Nisumbha; ornate and beauteous in gold ornaments, garlands with their fragrance and sitting astride the darting lion embodying the spirit of victory, shines Durga. May Her divine ower give us protection and benediction. 141 In Kerala, Durga is conceived as the presiding deity of valour 221

(Vira) and victory, destroyer of material deprivation and mental sorrows, as well as the fulfiller of each and every wish of the seeker. Durga is also conceived as an aspect of Parvati. Although there is general acceptance among scholars that the Devi concept is Saivite in nature, the Devi is worshipped in Kerala in Saiva, Vaisnava and Sakteya modes. Caritrakavyas like Keralodaya and Keralolpatti make pointed references to 108 Durga temples in Kerala. Many literary works of Keralite origin are also replete with Slokas extolling Durgadevi, for example, Devimahatmya of Ezhuttachan (Malayalam), Srikumaralayastotram of Kunchan Nambiar and Sripadastuti of Melputtur Narayana Bhatta¹ Durga was also worshipped in such forms as Muladurga, Vanadurga, Jaladurga, Jayadurga and Santanadurga. Durga had also been represented prominently in murals, sculptures and paintings. One can easily identify unusual and beautiful features and expressions depicted in many of these Durga images. In a sense, among those who follow the Saktic system of worship in Kerala, Durga occupies a superior and dignified status. Moreover, Durga is also worshipped in Kerala as Parvati and Tripurasundari. In the following Patala are provided the Varnanas and Dhyanas pertaining to other Devis like Vasudhara, Triputa, and Annapurna. 222

Vasudhara This Devi is invoked and sought to be propitiated for attaining material prosperity, for which various Dhyanas are recommended. It may be pointed out in this context that Upasana of Vasudhara is no longer in vogue in Kerala. 1. A Dhyanavarnana on Vasudhara runs thus: Golden in complexion, with high breasts, face resembling the moon, hair as dark and dense as a swarm of black beetles, beautiful and shapely hands and waist, adorned with crown and garlands of gold; holding the Dadimaphala, Utpalapuspa in the arms the Devi reigns in radiance, at whose feet we bow in prayer. 143 2. That Vasudhara is meditated upon, who remains seated in glory on a Pitha of gold and jewels; resting Her lotus-like feet on the petals of red lotus, symbolising prosperity; in complexion like the jewels; with high breasts; with countenance as bright as the full moon; embellished with garlands of flowers and jewels, the gold crown and the like; attired in many-hued silk robes; displaying Abhayavaradamudras and holding the Dadimaphala on the hands. 144 Triputa Golden in colour, seated on the lotus, having Trinayana, ebullient and armed with the white lotus flower, Pasa, Ankusa, bow of 223

flowers, and Sara in six divine hands; robed in red silk; and above all, as Bhuvanesvari (the queen of the earth), resides Triputadevi whose benediction is sought in humble prayer. 145 The Bhuvanesvari concept and worship of the Devi as such is extremely popular throughout Kerala. According to Tantra, there are numerous Vargas of Bhuvanesvari aspects. Annapurna Annapurna is a form of Devi worshipped under the Saivite system and the Dhyanasloka is as follows: Standing enthralled and spellbound having witnessed the Natana of Sriparamesvara; attired in dainty and rare robes and other embellishments, body bent with the heaviness of the breasts; in blood red complexion and perennially showering food or Anna and removing all the sorrows of the devotees, resides Annapurna. Gauri In 'Gauripratistadhikara', the Madhyamadasatala Vigrahalaksana and Gauridhyana are beautifully described. The Vigrahalaksana is given as follows: Having four hands, in which are Abhayavaradamudra, Pasa and Ankusa, with high and heavy breasts, crown beautified with garlands 224

on the neck, abundant and beautiful dark blue hair in dexterous hairdo behind the head, with Trinayana, sporting gentle and beautiful smile, wearing Manikundalas and the ornamental band around the beautiful waist, of golden complexion, shining bright with jewel-studded rings on the fingers, burnished in silk robes of golden hue, shining all over in jewels, the feet adorned with bejewelled anklets, the very embodiment of such attributes as beauty, elegance and charm; such is the form in which the idol of Gauri should be sculptured.146 The description of another aspect of Gauri- displaying Cidrupamudra and Abhyavaradamudras, holding Sula and Danga, high breasts, dark in complexion, with Trinayana, fierce in expression, yellowish brown hair tied in an upturned hairdo, wearing numerous serpents by way of embellishments, with awe-inspiring looks, Gauri is conceived and meditated upon. 147 According to the Keralite tradition of worship, Gauri is an aspect of Parvati Herself. Gauri is also known as Uma. Saptamatrkas The Kriyapada of Isanasivagurudeva-paddhati 148 deals exhaustively with Saptamatrkas, and the modes of worship, Vigrahalaksana and the order of installation of the idols. It is believed that the Saptamatru concept has a tradition of over a thousand years in Kerala. But with the advent 225

of the Vaisnava Bhakti movement led by Ezhuthachan and Punthanam, the Saptamatru concept gradually declined in importance, according to some scholars. 149 There are also temples in Kerala devoted exclusively to them, although they are very few in number. During the festive season of Navaratri, as also during the Utsavabali related to the annual festivals, the Saptamatrus accompanied by Virabhadra and Ganapati, are accorded special Pujas. Among Saptamatrus, Camundi assumes special importance. What is noteworthy here is that no special Pujas or Nivedyas are offered on a daily basis to Saptamatrus in any of the temples belonging to the Sakteya tradition in Kerala. The great literary works of Kerala like Sivaratrimahatmyam (Kannassapanikker), Bhagavatam Kilippattu (Ezhuthachan), and Tottampattu also explain the Saptamatru concept in detail. Morever, in Devimahatmya, which is not a regional work, there is special mention about the Saptamatru concept. 150 brahmimahesvari caiva kaumari vaisnavi tatha | 151 varahi ca tathendrani camundi saptami smrta | | a Brahmi, Mahesvari, Koumari,Vaisnavi, Varahi, Aindri and Camunda these seven Matrus are assigned their respective and appropriate Vahanas, Ayudhas, and Bhusanas. The Vahanas are Brahmi-Hamsa (swan); Mahesvari-Rsabha (Bull); Kaumari- Mayura (Peacock); Vaisnavi-Garuda (Eagle); Varahi- Karanja (Indian beech); Aindri-Hasti (Elephant); Camunda-Sava (Corpse).1 226

In the Pratistavidhi of Kriyapada of Isanasivagurudeva-paddhati, the Ekabera.and Bahubera Vidhana idols of Camunda are detailed. In two elaborate Dhyanavarnanas, the author renders what may rightly be called Roudrabhava of the Devi at its superlative best-it is as fierce as fierce can be.153 In the Yuddhajaitrayatra karmavidhis of Mantrapada of Isanasivagurudeva-paddhati, the name of Laksmi is also added to the Saptamatrus and there Astamatrus are known as Lokamatrus. brahmimahesvari caiva kaumari vaisnavi tatha | varahaindri ca camundi mahalaksmisca matarah | | 154 Gayatri Three types of Dhyanavarnanas are given in the SP of Isanasivagurudeva-paddhati, that pertain to the Gayatri concept of the Devi. 155 Gayatri Devi occupies a special position and importance for devotees not only in Kerala but outside too. The author enjoins that Gayatri should be meditated upon, as residing in Suryamandala. Yaksini The Yaksi concept is a very popular and ancient form of belief in Kerala. The Mantrapada of Isanasivagurudeva-paddhati offers graphic Angapratyangavarnanas of Yaksis in two Dhyanaslokas. They are so exhaustive and picturesque, 227

verging on the erotic. 156. In folklore and stories of yore, the Yaksi was a living and lively presence. In murals, sculptures, and wood carvings, Yaksi images are widely represented. In sculptures she stands with a mirror and comb in Her hands in a make-up pose. The Sarpakkavus (Sylvan abodes for snakes) of Kerala abound with idols of Ahiyaksi, Sundarayaksi, and Mohiniyaksi. The people of Kerala performed Yaksyaradhana along with Vriksaradhana (tree worship) and the was an important deity of worship. In course of time, there had been decline in the importance to Yaksi with Durga and Kali occupying that place. Later on, when the Brahmin system of worship took roots in Kerala, Yaksini was reinstated although not to the original extent. Yaksini idols were popular objects of worship in the Buddhist tradition too.