Sapta Matrkas in Indian Art (Set of 3 Books)

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Sapta Matrkas in Indian Art
Sapta Matrka Worship and Sculptures	Depiction of Saptamatrkas in Indian Art	Iconography of the Saptamatrikas

Sapta Matrka Worship and Sculptures

From the Jacket:

The worship of Saptamatrka; the seven Mother Goddesses (or the seven Saktis, the divine feminine powers), is over a millennia and halfold, pan-Indian phenomenon. And, over the centuries, the Matrka concept has come to have varied ideational, literary, visual and ritualistic manifestations - which not just interconnect the tatality of Brahmanical and non-Brahmanical religious traditions, but are integral components of the diverse historical processes of Indian society.

A reputed scholar of art history here offers an insightful iconological study of Saptamatrka divinities : the Brahmanical goddesses found invariably as a single collective whole, consisting literally of seven (though sometimes eight or more) female deities, variably accompanied by different forms of Siva, and Ganesa or Skanda. Employing the multidisciplinary methodio-logies of art historical interpretation, including the recent feminist interventions, Dr. Panikkar's inquiry contexualises nearly the whole range of Saptamatrka icons within the larger historical evolution of accultured Brahmanical religion, mythology, theology and concomitant multifarious cultic developments. Also clarifying some of the basic principles of Brahmanical iconic tradition, his study has, for the firs time, exceeded the accepted Art Historical procedures by incorporating the questions of class conflict, gender 'representations' and ideology within the iconological discourse - and has, thus, advanced the frontiers of Art Historical practice.

It is a compelling, painstakingly researched work growing from the author's indepth survey of diverse Saptamatrka sculptures, and an astonishing mass of both primary textual sources and research publications of more recent years. And, yet more significantly it is enlivened with exquisite visual material: comprising nearly 200 photographic reproductions.

About the Author:

Shivaji K. Panikaar has had his specialized training and doctorate in Art History at the Department of Art History and Aesthetics, Faculty of Fine Arts, the M.S. University of Baroda. And has also had the UGC's (University Grants Commision's) 2-year Research Fellowship: 1980-82, for an ambitious research project, namely, Encyclopaedic Index of Vaisnava Myths, Symbols and Icons in Indian Painting and Sculpture : A Study in Meaning

Currently Reader in Art History at Baroda's M.S. University, Dr. Panikkar is indisputably an untiring researcher, with varied concerns: ranging from contemporary art practices to the issues of interrelationship of art, politics and ideology in both traditional and modern arts. Already his published work comprises a considerable body of writings that include exhibition catalogues and thematic articles - besides three volumes of edited works on different genres of art, in his capacity as an assistant editor and co-editor.

Introduction

THE Devi Mahatmya, the early Sakta text, describes the Matrkas, Brahmani, Mahesvari, Kaumari, Vaisnavi, Aindri, Varahi, Narasimhi, and Camunda as saktis (embodiments of the potent feminine powers) of the respective Brahmanical gods, who are generically named as matr or matri, and in a group as matrgana, meaning mothers. Etymologically matr derives from the root ma, meaning to measure, or to be contained or comprised in.' Matr, thus means a mother, who contains, obviously referring to the maternal potential. Monier Monier-Williams, based on the Rgveda interprets matr as, to measure or to traverse, to be large or long enough to find room or to be contained in." Rgveda interprets matri as one who measures across or traverses, and as one who has true knowledge," obviously meaning that of regeneration. Matr also means a mother as a term of respect or endearment.' When used generically, matrka means all kind of groups. Matrka as used in the present work refers to the sakti embodiments of respective gods as described in the Brahmanical literature, who in iconic sculptural portrayals are the divine mothers and warriors, used for ritual worship.

The Matrka-worship and the related manifestations in plastic arts are a pan-Indian phenomenon, the antiquity of which is considered to be as ancient as that of Siva and the fertility goddesses of the Indus Valley civilization. The distinct, ideational, literary, visual and ritualistic manifestations of the Matrka concept, are interconnected with the totality of Brahmanical and non- Brahmanical religious traditions. And these are integral components of the multifarious historical processes of Indian society.

The initial inspiration for this came to pass incidentally in May-June, 1982, while assisting Prof. Ratan Parimoo in documenting Vaisnava sculptures in Madhyadesa. A number of Matrka sculptural portrayals in this region, including some of the earliest ones, prompted me to imagine their cultic significance in the Brahmanical pantheon. The early Matrka sculptures at Badoh- Pathari, Udayagiri, Besnagar and Deogarh, their iconographical and stylistic features, further made me inquire about the possibilities of studying the evolutionaryprocess therein. Subsequent research opened up the possibility of probing into the problem of origin, development and diffusion of the Matrka concept and images at distant regional centres. At this stage assisting Prof. Parimoo on the U.G.C. research project on Vaisnava art had greatly helped me in formulating a methodology suited for such an iconographical study. Specifically, the research carried out on the development, diffusion, regional variations, textual sources and sculptural manifestations and meanings of a single iconographic form, that is of the Sesasayi Visnu, provided valuable experience in this direction (Sculptures of Sesasayi Visnu, M.s. University of Baroda, Baroda, 1983). Further, a valid ground was yet to be arrived at, in order to locate the iconography, which lead me into the dialectics of political, social and religious histories. And a theoretical premise evolved incorporating the gender issues as well, giving the work, I think, extensive and intensive implications.

The pioneering effort of T.A. Gopinatha Rao discusses only the most obvious iconographical features of Matrkas, where these are correlated to the myths and silpa sastra stipulations. J.N. Banerjea's work which followed, traces in certain detail the linear chronological sequence of the cult of goddesses from the Indus Valley civilization till the medieval times. Within this background, the general descriptive analysis of the two important iconographic forms, namely, that of Durga and Saptamatrkas have been undertaken. The later art-historical researchers can be seen either resorting to the models set by these two scholars or merely adding up further sculptural and literary data in the general fund of information regarding the goddesses tradition. The main emphasis was trying to match the sculptural and literary data.

A more recent comprehensive work on Saptamatrka iconology, that of Katherine Anne Harper, confines itself to the analysis of the religious and cultural meanings and evolutions of symbols, while also presenting a chronology of the images." The scholar presents the anthropological data of the worship of the seven goddesses in the folk cultures and proposes a thesis of confluence of aboriginal and Vedic symbolism, but treats it as if these were part and parcel of a monolithic tradition. The approach excludes a dialectical perspective of the wider historical processes, and hence remains decontexualised from the larger frame of socio-politico- economic and cultural meaning of art and religion. Methodologically, the correlation of the more recent anthropological data concerning the worship of heptads with the ancient Vedic tradition of the same, turns out to be faulty, since it excludes the possibility of the acculturation during the in-between periods, putting forth a stationary model of an unchanging village India. ,

A large body of research publications of the more recent years analyzing the origin and development of Devi worship in India using evolutionary models have been extensively used in the present study. A major methodological facet of this study derives from the structural analysis of Devi myths by scholars. These are incorporated in the relevant places of this book.

The major aspects of the Matrka concept can now be delineated. Inherently, the Matrka divinities are dichotomous personalities- Though represented as goddesses, their identity and attributes largely derive from the respective male deities. Theologically, this is explained in terms of them being saktis, or the feminine power of the male gods, and hence imply a co- existence of the principles of male and female in the one and the same. Further, Matrkas of the Puranic myths are militant, ferocious, blood drinking goddesses of the battlefield, assisting either Siva or Devi in their battle against asuras. Yet, in the sculptural portrayals, generally, (at times, with the exception of Camunda), they are depicted as benevolent, compassionate and aristocratic mothers. Their motherliness is often accentuated by the playful attitude towards the children, with whom they are portrayed in certain regional traditions. But, the ayudhas, the war props they hold, imply quite a different meaning level, and indicate conflations of and resolutions of conflicts based on the socio-political and economic realities of ancient India. This, validates the extended title of the book, 'Conflicts and Resolutions in the Storied Brahmanical Icons'.

Matrkas embody syncretism between various principal sectarian Brahmanical cults and other theophanies. Yet, the tradition proves the primacy of Saiva cult over others, considering . the specificity of iconographic programme, and also since Matrkas form a significant component in the iconographical layout of Saiva caves and structural temples.

The book is iconological, since the interpretations of the icons are contextualised within the larger framework of historical evolution. Thus, the socio-politico-economic and religious contexts of art receive an equal importance as the art itself, and is treated as an integral part of the sculptural manifestations. The particular iconographical tradition which begins during the Gupta period, presents highly complex meaning levels as it goes through varied sculptural interpretations in the subsequent centuries at different regional centres. In the medieval times the importance of Matrka divinities recedes considerably, but lingers on faintly in the Hindu pantheon till today. During the medieval times cultically and iconographically a more elaborate tradition of Causat Yoginis are invented, possibly based on the Matrka tradition, which by itself is a separate area of study.

The book is also an attempt at transcending the limitation of fragmentary understanding of the Saptamatrka iconography, since it takes into consideration temporal and spatial developments in the pan-Indian context. Further, the book also throws light on the significance of Matrka images in the wider context of Brahmanical art (of Saiva, Vaisnava and Sakta denominations) which had been overlooked at least by some scholars.

Before going into the theoretical framework and the methodology employed, a few explanations of the terminologies may be useful. The terms Aryan, non-Aryan or Dravidian are not used with any implication of races, but imply only the class differences, or at times with an intent to distinguish the orthodox and heterodox social spheres. Brahmanical denotes the religion essentially practised and propagated by the brahmana varna, including the other varna groups who came under this hegemony. This accultured realm is denoted by the use of the term neo- Brahmanism, which is differentiated from the orthodox Vedism/Brahmanism. The use of the term Hinduism is purposefully avoided in these, since it is an invention of the European colonizers, and may be more appropriate for the modern Hinduism.

Theoretical and Methodological Framework

Apart from the prime concern with the sculptural materials, the Brahmanical religion in totality, particularly neo- Brahmanism, with the sectarian import of the latter and the historical issues of class and gender, are the primary foci of this study. The heterogeneity, inconsistency and contradictory conflations noticed in the primary materials are very many. This is so, since the catholicity of neo-Brahmanism "denies nothing and is intolerant of no level or phase of religious consciousness". Considered theoretically, acculturation is viewed as a historical strategy ofthe evolving dominant power nexus between brahmana and ksatriya. castes, effecting subordination of the 'lower' classes and female gender, through assimilation. The co-existence of disparate elements and stages of religion from the primitive to the sophisticated; the mythological, theological and philosophical rationalisations, and the absorptions and re- interpretations of these were contained within an overall system, which allowed adequate space for conflict and resolutions of sustenance among the dominant power groups. Symptomatically, it can be read within a colonizer-colonized mode of discourse.

The divine feminine in the Brahmanical tradition, throughout its history, has remained a male construct, deriving its validation, legitimation and 'representation' within the patriarchal kinship relations of the higher varna groups, and having socio-political implications on all the different sections of the larger Brahmanical society, which is composed of conflicting classes. However, such a theoretical proposition needs to be validated while dealing with several such highly complex constructs. For example, there exist in the tradition a conceptual differentiation between the consorts and the sakti; the feminine power of the male gods. While the power position of a female consort is absolutely determined by the respective male gods, sakti suggests a relatively 'autonomous' power position. Yet, in different contexts of Brahmanical mythology consorts figure-in as sakti, making the anomalous power position of the goddesses a complex problematic. A very good example is the case of the subordinate power position of sakti in the. Ardhanarisvara myth and icons. Hence, the theoretical premise adopted for the interpretations pertains to the relative nature of the power of the female to that of the male, especially while considering myths as reflections of societal relations. The questions of relative gender power is viewed as located within the power conflicts and resolutions of classes. In other words, the relative gender positions criss-cross with the relative class positions and need to be viewed in this manner.

 

CONTENTS

 

Acknowledgements		v
Abbreviations		xiii
List of Illustrations		xv
Introduction		1
Chapter 1: Matrka Prototypes-I		11-30
	The divine female and proto-Saptamatrka in Indus Valley culture The divine feminine and the female heptads in Vedic tradition The conceptions of female deities and proto-Saptamatrkas in the post-Vedic literary sources
Chapter 2: Matrka Prototypes-II (TULELARY MATRKA DIVINITIES OF THE KUSANA PERIOD)		31-53
	A Critique of previous researches The therianthropic Matrkas, Skanda and the Balagraha tradition Harinegamesin (Skt.) or Harinegamesi (Pkt.) and Balaragraha Hariti, Kubera, Laksmi Conclusion
Chapter 3: Saptamatrka Worship CONCEPTIONS IN LITERARY AND INSCRIPTIONAL SOURCES		55-70
	The hepted traditions and Saptamatrka Sakta cult, Tantrism and Saptamatrka Kings, Skanda and Saptamatrka Saptamatrka in myths Saptamatrka iconography : Silpa texts
Chapter 4: Saptamatrka Icons-I (FOURTH TO MID-SIXTH CENTURIES AD)		71-102
	A Critique of previous researches and methodological considerations The early iconographical typologies : Central India The early iconographical typology : Western India The early regional traditions : Deccan The conflation of traditions : early sixth century icons in central India and Gangetic Plains Transitions: Western India Iconographical Summary
Chapter 5: Saptamatrka Icons-II (MID-SIXTH TO LATE SEVENTH CENTURIES AD)		103-132
	The transitions and the two modes of presentation : Western India Further elaborations : Central India The early traditions : Orissa The early traditions : Ellora The genesis of south Indian tradition : Deccan The early south Indian tradition Iconographical summary
Chapter 6: Saptamatrka Icons-III (EIGHT AND NINTH CENTURIES AD)		133-153
	Medieval elements incubate : Western India Medievalism in prospect : Central India Further elaborations : Ellora Iconographic fixity and perfect iconicity : South India Paramountcy of Saktism, via Tantrism : Orissa Iconographical summary
Chapter 7: Iconology of Saptamatrkas HISTORICAL PERSPECTIVE		155-190
	Methodological considerations Neo-Brahmanism and the acculturation of the goddesses Acculturation of female gender : Samkhya, Tantra and the goddesses Sakti myth - a retake : Iconology of Saptamatrka
Plates		191-262
Bibliography		263-274
Glossary		275-285
Index		287-301

Sample Pages
















Depiction of Saptamatrkas in Indian Art About the Book Sakti is the Mother of the Universe the highest primal power. She is the all pervading, intangible energy principle. that propels the cosmos and its endless human dimensions with the life-throbs of activity and culture. The Saptamatrkäs known as Seven Divine Little Mothers are the manifestations of Sakti. The cult of Saptamätrka is of considerable antiquity. The Mahabharata, the Puranas and other literary texts have provided vivid accounts of the origin of the little Mother Goddesses. The author besides emphasizing on the literary descriptions of Matrikas has also discussed the emergence and representation of the Saptamat?kas along with the iconographical interpretation as the Goddesses have occupied a prominent place in the sculptural history of India through the ages.

A large number of Saptamät?ka panels and images are noticed from our sub-continent ranging from Its century A.D.to 13th century A.D. Here the author presents rich and variegated pictures of the Seven Little Mothers which glorify the Art History of India highlighting the iconography of individual images with special reference to the Silpa and Tantric texts. He focuses on different depictions of Saptamat?ka images. The book also incorporates the genesis of Sakti cult, sakta pithas of Odisha, origin and evolution of the Goddesses, survey of prominent sculptures found both in Odisha and other Indian States. The extensive field work and hundreds of the portrayal of the Saptamat?kas have made this book colourful as well as the first of its kind. The work abounds in photographs revealing the variety forms of the Goddesses which will definitely for scholars and particularly those architecture and pre odisha in particular and that of india general.

About the Author Dr. Sanjaya Kumar Mahaptra (born 1963), presently working as Reader in History and Principal in the Janata College, Kuhuri, Khordha, Odisha is the recipient of prestigious Rastriya Gaurav Award. He is an eminent scholar of history and Archaeology who has devoted two decades of his illustrious career to the study of Archaeology, History and Culture of our land. His valuable writings have not only enriched the art, architecture and sculpture of India but also paved the way for the growth of cultural heritage of our sub-continent.

Dr. Mahapatra is well versed in Yoga, Tantra and Astrology and has got the credit to publish seventy articles in the different national and state journals which brought him state and national repute in recognition. His valuable books "Mahi?asuramardini in Art, Iconography and Cult Practices, Mahisäsuramardini:The Great warrior Goddess, Camu??a in Mythology, Art and Iconography, The Khakhara Temples" and The Goddess Varahi are well appreciated by the scholars. Besides, he has co-edited the two volume k "A Bouquet of Indian Heritage, rch and Management". His edited "Social History of Orissa in 19th ry" is also a unique reference work. he attainment of spiritual goal and blissful state he was initiated into e path of Kriya Yoga in 1988.

Preface Saktism, the concept of Sakti, the source of all energies of the Universe plays a vital role in the religious tradition of India since the dawn of human civilization Originated from the primitive mother goddess cult prevalent among the aboriginal society, saktism gradually assimilated various heterogeneous traits and finally emerged as an independent religious thought forming a significant aspect of mainspring of Indian religious system. Unlike other religious sects, saktism has a continuous and colourful history of its own Although saktiem crept into other religions as the energizing power of male divinities, it has close affinity to Saivism and has conceptualized that the procreation is possible only through the union of Siva with Sakti

The antiquity of Sakti cult in India dates back most probably to the 3 millennium BC on the basis of terracotta figurines discovered from the Harappan sites and the historic rock shelters where the Sakti is manifested in triangular genital forms or in the forms of fecundity and fertility. She was invoked and adored in the names of Ura, Aditi, Sri, Sarasvati etc in the Vedic age while Durga. Candika, Saptamätrka, Yoginis, Camunda etc in the Epic and Mahabharata periods. She is Mahakali, Mahilaksmi and Mahisarasvati as delineated in the Markandeya Purana. Even modern Indian saints like Ramakrina Paramahamsa and Sri Aurovinda have invoked this Sakti in the shape of Divine Mother. She is also regarded as the Maya and Prakrti by the Vedantins. Being the primordial energy she creates, sustains and dissolves the universe. That is why since the dawn of civilization the worship of the Divine Mother crept into the spiritual and religious beliefs of mankind.

The Sakti cult occupies a pivotal position in the socio-religious life of Indian people. The paintings and engravings of the rock-cut art, the bisected triangles, the perforated stones in the rock shelters and the Yoni stone etc have not only strengthened the above statement but also provided the concrete materials to the scholars to prove the beginning of Sakti cult in India since the pre-historic period. Further, the primitive tree-worship is no doubt the early manifestation of mother-worship which reinforces the genesis of Sakti cult in India to a hoary past.

A band of female divinities entitled as Mätrkäs occupy an eminent place in the Hindu perception They assume paramount significance especially in the goddess-oriented Tantric sect of Hinduism. These little Mothers are the endowed energies of the important familiar male deities. Early references to the Mátrkás can be assigned to the first century AD as mentioned by David Kinsley. But they rarely specify their number, the implication in some passages is that they are innumerable. In the medieval period heir number and names become more standardized. They are usually said to the number seven as Saptamatrkäs though some texts mention eight and sixteen. Since they are generally depicted as heptads, They are called Saptamat?käs who in the Vedas form one band and take their seat on a moving chariot ymbolized as the human body or each solar ray or each octave sound.

Introduction De Math111) Sakti, the cradle of the phenomenal existence of beings, plays a vital role not only in India tal in the whole world. She is the source of cosmic evolution and the controller of all forces and potentialities of nature. She is the immediate cause of the perceptible world and all the beings are in her domain. As ac to know her in the entirety is to know her reality. To add more, Saktiem is the worship of Sakts or the female principle, the primary factor in the creation, sustenance and dissolution of the universe. The term Sakti represents divinity in general and stands for the energizing power of some divinity in particular Being feminine in gender she has long been associated with the various male deities as their energy but in Saktism the energy of each God becomes personified as his consort, and thus, if a god is separated from his consort or Sakti, he is powerless and inert. To justify this statement, Sankaracharya, the propounder of monistic theory, in the Saundaryalahari has eulogised the greatness of Sakti in the following manner.

The word Sakti is derived from the root "Sak' meaning the capacity to have power and to perform It indicates both capacity and activity. It may also be applied to any form of action like seeing, hearing, smelling etc. These are all powers of activity which are ultimately reducible to the primordial energy (Adya-Sakti) from where every other form of power proceeds. Further, Sakti may be conceived to be the personification of universal energy in abstract. She resides in the macrocosm and microcosm. While all the forms of activity in the perceptible world are the manifestation of the macrocosmic forms of Sakti, in the microcosmic form she resides dormant in the human body at thebottom of the spinal columes (muladhara clunkra). The ultimate aim of Yoga sastras is to arouse it and carry it to the cerebrum (sahasrara chakra) for attainment of samadhi, the ever blissful state.

**Contents and Sample Pages**

Iconography of the Saptamatrikas (An Old & Rare Book) About the Book The worship of Mother Goddess has been prevalent since the very ancient days. Later on the worship of Saptamatrikas become a part of mother cult. Initially the mother cult comprised worship of seven mothers viz., Brahmani, Vaisnavi, Maherwari, Kaumari, Indrani, Varahi & Chamunda, but this number was subse quently increased to eight or even more in the later texts.

A large number of Saptamatrika Panels and images have been noticed from the entire length and breadth of our country ranging from 1st cent. A.D. to 13th cent. A.D. In this book, the origin, development, regional styles and dynastic characteristics of these Saptamatrikas have been studies in a scientific manner.

A complete knowledge of Saptamatrika cult in India, its inscriptional evidences, a glimpse of the Saptamatrika pancls in chronological order, the important panels subjected to critical iconographic study based on extensive field work and the portrayal of the Saptamatrikas through eight five illustrations; all have made the book the first of its kind.

About the Author Presently Dr. Misra is working as Publication officer in the office of the Commissioner Archaeology & Museums Govt. of Madhya Pradesh.

In the Department of Archaeology & Museums Dr. Misra is Associate Editor for Quarterly Journal 'PURATAN'. Being as Associate Editor he is involved in the Publication of the Department as Khajuraho in perspective, Saiva traditional in Indian Art-Special volume of Puratan Dangawada Exca vation and Puratan No. 7.

Recently Dr. Misra completed a monograph on Dasavatara in Central India - an Iconographical study which is in press. Indian Council of Historical Research, New Delhi is considering his project on Archaeo-Socio Study of Chhattisgarh for study for post-Doctoral Research on Mother goddess in Central India - an Iconographical study to study the Details of the Mother goddess Icons scattered in Central India And in the temple sites.

Foreword Dr. O.P. Misra is already known for his book Mother Goddess in Central India, wherein he had exhaustively discussed the representation of Matrikas in Madhya Pradesh. In the present work he has extended the scope of his enquiry and dealt with the antiquity and development of the cult of Matrikas obtaining in all parts of India. The book provides the most detailed documentation of the theme, bringing out the regional similarities as well as dissimilarities in the visual concept of each Matrika in successive periods. He has also tried to analyses the textual success for the continuity and change in the relevant concept as well as their actual representation.

The Matrikäs are known to have originated as almost timeless folk divinities with both benevolent as well as malevolent aspects. There are copious references to the Matrikäs in the Mahabharata and the Puranas which deal with the myths of their origin and their forms and emphasize their group existence, leaving their number indefinite from seven to 190 or even more. According to early literary sources their benevolent functions were mainly connected with the protection of the foetus and the easy birth and welfare of the infant and the growing child, while their malevolent aspects were directly related to the destruction of the pretas and the infant and blood-sucking and harming the growing child. Until the early Kusaga period when they were first represented at Mathura in either human form or with animal faces, both their concept and number remained regular and it was only in the later Ku?änä age that they came to be associated with god Kartikeya. Their exact number and functions, were however, not standardized until the early Gupta period, when that popular concept of a group of seven or eight Mothers finally crystallized. From the Gupta period onwards they were conceived as the 'energies' of the principal Brahmanical God, created especially to god Siva or Durga in the destruction of the Andhaka or Raktabija (aids of Sumbha and Nisumbha). The standard group of Sapta-Matrikas flanked by Virabhadra andjGanesa at the two ends thus emerged only with the growth of Puranic Saiva and Sakta cults, though several variations occasionally continued to be visualized extending their number from eight to sixteen.

In the three introductory chapters Dr. Misra has provided a sufficient account of the origin and development of the Matrikas from both literary and archaeological sources. The subsequent chapters furnish a detailed description, as well as period wise, of each Matrika against the relevant historical and cultural background. In the concluding chapter he has presented a critical analysis of the regional peculiarities after establishing the standard normal form common to all areas. The book thus offers a comprehensive view, through the ages, of an important group of Hindu divinities which have played a significant role in the evolution of the religious personality of India.

Preface The worship of Mother Goddess has been prevalent since the very ancient days. Later on the worship of Saptamätrikäs became a part of Mother cult. Initially the Mother cult comprised worship of seven Mothers viz., Brahmani, Vaisnavi, Maheswari, Kaumari, Indrani, Värähi and Chamunda, but this number was subsequently increased to eight or even more in the later texts.

The Epic and Puranic literature gives a very interesting account regarding origin of the Matrikäs. The Mahabharata mentions that Siva was greately assisted by Saktis of other deities besides his own. Sakti Maheswari subduing the demon Andhakasura. The seven Mother Goddesses drank the blood issuing from the body of Andhaka and stopped multiplication of asuras and finally killed them. The Märkandeya Puränä also gives a similar account when goddesses Ambika and Chamunda were helped by other Goddesses in killing Raktavija an ally of Sumbha.

A large number of Saptamatrika panels and images have been noticed from the entire length and breadth of our country ranging from 1st cent. A.D. to 13th cent. A.D. It is proposed to undertake an iconographical study of the Saptamatrikä images reported from in various monuments and in the possession of various museums, private bodies and individuals from the earliest times to 13th cent. A.D. Under this study origin, development, regional styles and dynastic characteristics will be studied in a scientific manner.

I owe a deep sense of gratitude to Prof. R.K. Sharma, of Jabalpur, for his encouragement and learned guidance in conducting research work on this topic. He has always been ready for discussions and offering scholarly suggestions.

**Contents and Sample Pages**