DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.75620#0045
INDIA: GANESA IN ICONOGRAPHY FROM HINDU TEXTS AND IMAGES 11
in the sculptures of the rock-cut temples, was always represented much smaller than
his parents, in fact, like the other accessory minor deities in their suite. It therefore
seems hardly probable that in this case prayers were addressed to him distinct
from those intended for Siva and Parvati. On the other hand, his presence in the
group of Saptamatrkas, where he is always represented of equal size with the god-
desses, seems to indicate that his role was the same as with the Navagrahas, for the
Seven Divine Mothers were also adored as a group.
According to the Suprabheddgama, Ganesa should be standing when in the com-
pany of the Saptamatrkas ; but in reality he is always seated, as are also the demon
goddesses, and is placed at their extreme left. As a rule, his right knee is lifted, and
the left is either pendent or bent before him on the asana. His head may be crowned
with the karanda-mukuta as at Ellora, or he may wear the head-dress of Siva, the
jatd-mukuta, as at Belur. He is four-armed, holding almost always the axe and
bowl; but the other symbols are not often easily identified. Underneath the asanas
of the goddesses are niches in which are the vdhanas of the gods of whom they are
the saktis, while in the niche underneath the seat of Ganesa may be a rat or a bowl
of cakes.
The cult of the Saptamatrkas1 is one of the most ancient in India. The seven
Devis were believed to be the feminine counterparts of the Seven Great Brahman
Gods, and their origin is explained in puranic myth as follows: Siva, in a great
battle with the chief of the asuras, Andhasura, found that from every drop of blood
falling to earth from the slain asuras sprang another asura ; and fearing to be over-
come by them, he created out of the flame that issued from his mouth in battle a
sakti, Yogesvari by name. The other seven Brahman Gods did likewise, and the
seven Takiis thus brought into existence, led by Yogesvari, caught each drop of
blood as it fell and thus was the chief of the asuras overcome.
The goddesses were given the names corresponding with the epithets of the Seven
Great Brahman Gods of whom they were the counterparts; and they not only
carried their symbols, but, as seen above, were given the same mounts. They were
looked upon as the personifications of the seven bad mental qualities: Brahmani,
pride ; Mahesvari, anger ; Kaumari, illusion ; Vaisnavi, covetousness ; Varahi, envy;
Indrani, fault-finding; Camunda, tale-bearing; and the leader of the Saptamatrkas,
Yogesvari, Kama or desire.
Ganesa was placed next to the last goddess at the left, Camunda, who was believed
to partake of the nature of Parvati. In certain villages, especially in south India,
she was to be found in the centre instead of at the left end of the group, and by this
change it was indicated that supplications were to be addressed to the Saptamatrkas
for increasing the population of the village.
In the Harivamsa there are prayers invoking the Saptamatrkas who are implored
to protect little children as if they were 'their real mothers'.2 It is perhaps for this
reason that the seven saktis were called the 'Divine Mothers', and that in most of
1 v. Pl. 2 (c). v. Indian Antiquary, Sept. 1906,
p. 253. Shamasastry writes: 'In ancient India,
the Mother of the World was called matr, and the
symbol which stood for her was called matrkd.'
2 Kindly translated for the author by Dr. J.
Filhozat.
in the sculptures of the rock-cut temples, was always represented much smaller than
his parents, in fact, like the other accessory minor deities in their suite. It therefore
seems hardly probable that in this case prayers were addressed to him distinct
from those intended for Siva and Parvati. On the other hand, his presence in the
group of Saptamatrkas, where he is always represented of equal size with the god-
desses, seems to indicate that his role was the same as with the Navagrahas, for the
Seven Divine Mothers were also adored as a group.
According to the Suprabheddgama, Ganesa should be standing when in the com-
pany of the Saptamatrkas ; but in reality he is always seated, as are also the demon
goddesses, and is placed at their extreme left. As a rule, his right knee is lifted, and
the left is either pendent or bent before him on the asana. His head may be crowned
with the karanda-mukuta as at Ellora, or he may wear the head-dress of Siva, the
jatd-mukuta, as at Belur. He is four-armed, holding almost always the axe and
bowl; but the other symbols are not often easily identified. Underneath the asanas
of the goddesses are niches in which are the vdhanas of the gods of whom they are
the saktis, while in the niche underneath the seat of Ganesa may be a rat or a bowl
of cakes.
The cult of the Saptamatrkas1 is one of the most ancient in India. The seven
Devis were believed to be the feminine counterparts of the Seven Great Brahman
Gods, and their origin is explained in puranic myth as follows: Siva, in a great
battle with the chief of the asuras, Andhasura, found that from every drop of blood
falling to earth from the slain asuras sprang another asura ; and fearing to be over-
come by them, he created out of the flame that issued from his mouth in battle a
sakti, Yogesvari by name. The other seven Brahman Gods did likewise, and the
seven Takiis thus brought into existence, led by Yogesvari, caught each drop of
blood as it fell and thus was the chief of the asuras overcome.
The goddesses were given the names corresponding with the epithets of the Seven
Great Brahman Gods of whom they were the counterparts; and they not only
carried their symbols, but, as seen above, were given the same mounts. They were
looked upon as the personifications of the seven bad mental qualities: Brahmani,
pride ; Mahesvari, anger ; Kaumari, illusion ; Vaisnavi, covetousness ; Varahi, envy;
Indrani, fault-finding; Camunda, tale-bearing; and the leader of the Saptamatrkas,
Yogesvari, Kama or desire.
Ganesa was placed next to the last goddess at the left, Camunda, who was believed
to partake of the nature of Parvati. In certain villages, especially in south India,
she was to be found in the centre instead of at the left end of the group, and by this
change it was indicated that supplications were to be addressed to the Saptamatrkas
for increasing the population of the village.
In the Harivamsa there are prayers invoking the Saptamatrkas who are implored
to protect little children as if they were 'their real mothers'.2 It is perhaps for this
reason that the seven saktis were called the 'Divine Mothers', and that in most of
1 v. Pl. 2 (c). v. Indian Antiquary, Sept. 1906,
p. 253. Shamasastry writes: 'In ancient India,
the Mother of the World was called matr, and the
symbol which stood for her was called matrkd.'
2 Kindly translated for the author by Dr. J.
Filhozat.