Skandamata :

Skandamata is the fifth among the Navadurga forms of Mahadevi. Her name comes from Skanda, an alternate name for the war god Kartikeya, and Mata, meaning mother As one of the Navadurga, the worship of Skandamata takes place on the fifth day of Navaratri.

Symbolism:Skandamata is four-armed, three-eyed, and rides on a lion. One of her hands is in the fear-dispelling Abhayamudra position while the other is used to hold the infant form of her son Skanda on her lap. Her remaining two hands are typically shown holding lotus flowers. She is light complexioned, and as she is often pictured seated on a lotus, she is sometimes referred to as Padamasani.

      Significance: It is believed that she rewards devotees with salvation, power, prosperity, and treasures. She can grant oceans of wisdom even to the illiterate if he happens to worship her. Skandamātā who possesses the brilliance of the sun, fulfils all the desires of her devotees. He who is selflessly devoted to her, attains all the achievements and treasures of life. The worship of Skandamātā purifies the heart of a devotee. While worshiping her, the devotee should have absolute control over his senses and mind.

He should free himself from worldly bondage and worship her with a single-pointed devotion. Her worship is twice blessed. When the devotee worships her, Lord Skanda, her son in her lap, is automatically worshipped. Thus, the devotee happens to enjoy the grace of Skandmata along with the grace of Lord Skanda. If a devotee worships her devoid of selfishness, the Mother blesses them with power and prosperity. The devotees who worship Skandamātā shine with divine splendour. Her worship is ultimately conducive to salvation. She is regularly known as "The Goddess of Fire".

Katyayani:

Katyayani  is an aspect of Mahadevi and the slayer of the tyrannical demon Mahishasura. She is the sixth among the Navadurgas, the nine forms of Hindu goddess Durga who are worshipped during the festival of Navaratri. She is depicted with four, ten or eighteen hands. This is the second name given to the goddess Adi Parashakti in Amarakosha, the Sanskrit lexicon (Goddess Parvati names- Uma, Katyayani, Gauri, Kali, Haimavati, Ishwari). In Shaktism, she is associated with the fierce forms of Shakti or Durga, a warrior goddess, which also includes Bhadrakali and Chandika. She is traditionally associated with the colour red, as with Parvati, the primordial form of Shakti, a fact also mentioned in Patanjali's Mahabhashya on Pāṇini, written in 2nd century BCE.

She is first mentioned in the Taittiriya Aranyaka part of the Yajurveda. The Skanda Purana mentions her being created out of the spontaneous anger of Gods, which eventually led to slaying the demon, Mahishasura, mounted on the lion. This occasion is celebrated during the annual Durga Puja festival in most parts of India.Her exploits are described in the Devi-Bhagavata Purana and Devi Mahatmyam, which are part of the Markandeya Purana attributed to sage Markandeya Rishi, who wrote it in Sanskrit ca. 400-500 CE. Over a period of time, her presence was also felt in Buddhist and Jain texts and several Tantric text, especially the Kalika Purana (10th century), which mentions Uddiyana or Odradesa (Odisha), as the seat of Katyayani and Jagannath.In Hindu traditions like Yoga and Tantra, she is ascribed to the sixth Ajna Chakra or the Third eye chakra and her blessings are invoked by concentrating on this point.

Origin: According to the Vamana Purana she was created from the combined energies of the gods when their anger at the demon Mahishasura manifested itself in the form of energy rays. The rays crystallized in the hermitage of Katyayana Rishi, who gave it proper form therefore she is also called Katyayani or "daughter of Katyayana".Elsewhere in texts like the Kalika Purana, it is mentioned that it was Rishi Kaytyayana who first worshipped her, hence she came to be known as Katyayani. In either case, she is a demonstration or apparition of the Durga and is worshipped on the sixth day of Navaratri festival. Devi Mahatmya in Sanskrit, the central text of Shaktism, dated 11 CE

The Vamana Purana mentions the legend of her creation in great detail: "When the gods had sought Vishnu in their distress, he and at his command Shiva, Brahma and the other gods, emitted such flames from their eyes and countenances that a mountain of effulgence was formed, from which became manifest Katyayini, refulgent as a thousand suns, having three eyes, black hair and eighteen arms. Shiva gave her his trident, Vishnu a Sudarshan Chakra or discus, Varuna a shankha, a conch-shell, Agni a dart, Vayu a bow, Surya a quiver full of arrows, Indra a thunderbolt, Kuvera a mace, Brahma a rosary and water-pot, Kala a shield and sword, Visvakarma a battle-axe and other weapons. Thus armed and adored by the gods, Katyayani proceeded to the Mysore hills. There, the asuras saw her and captivated by her beauty they so described her to Mahishasura, their king, that he was anxious to obtain her.

On asking for her hand, she told him she must be won in fight. He took on the form of Mahisha, the bull and fought; at length Durga dismounted from her lion, and sprang upon the back of Mahisha, who was in the form of a bull and with her tender feet smote him on the head with such a terrible force that he fell to the ground senseless.Then she cut off his head with her sword and henceforth was called Mahishasuramardini, the Slayer of Mahishasura.[4] The legend also finds mention in Varaha Purana and the classical text of Shaktism, the Devi-Bhagavata Purana

Other legends: Raktabija, an aide of Kolhasur, possessed a power (Siddhi) whereby every drop of his blood spilled on earth would give rise to a demon. Due to this power, Bhairava was finding it impossible to kill Raktabija. Katyayani swallowed all of Raktabija's blood without letting it fall on earth. She created an Amrut Kunda (tank of nectar) to rejuvenate Bhairava's soldiers, thus playing a crucial role in the war. Her temple to the South of Kolhapur commemorates this. The second among the 'Shaktipeeths' is Tulja Bhavani (Parvati) of Tuljapur. It is the family deity of the Bhosale Royal family, the Yadavs and of countless numbers of families belonging to different castes. The founder of the Maratha kingdom, Shivaji always visited the temple to seek her blessings. It is believed that the Goddess Durga Bhavani (Katyayani) gave him a sword - 'the Bhawani sword' - for success in his expeditions. The history of the temple has been mentioned in the Skanda Purana.

According to Tantras, she revealed through the North face, which is one of six faces of Shiva. This face is blue in colour and with three eyes and also revealed the Devis, Dakshinakalika, Mahakali, Guhyakali, Smashanakalika, Bhadrakali, Ekajata, Ugratara (fierce Tara), Taritni, Chhinnamasta, Nilasarasvati (Blue Saraswati), Durga, Jayadurga, Navadurga, Vashuli, Dhumavati, Visalakshi, Parvati, Bagalamukhi, Pratyangira, Matangi, Mahishasuramardini, their rites and Mantras.
Worship

In the 10th Canto, 22nd Chapter of the Bhagavata Purana describes the legend of Katyayani Vrata, where young marriageable daughters (gopis) of the cowherd men of Gokula in Braja, worshipped Katyayani and took a vrata, or vow, during the entire month of Margashirsha, the first month of the winter season, to get Krishna as their husband. During the month, they ate only unspiced khichri and after bathing in the Yamuna at sunrise made an earthen deity of the goddess on the riverbank and worshipped the idol with aromatic substances like sandalwood pulp, lamps, fruits, betel nuts, newly grown leaves, fragrant garlands and incense. This precedes the episode where Krishna takes away their clothes while they are bathing in the Yamuna River. She is worshipped and revered on the 6th day of Navratri. She is also considered to be sister of Surya dev, the Sun God, and is worshipped along with him during the festival of Chhath Puja in the eastern parts of India.

The Adolescent Virgin Goddess in the southern tip of India, Devi Kanya Kumari is said to be the avatar of Katyayani or Parvati. She is the goddess of penance and Sanyas. During the Pongal (Thai Pongal), a harvest festival, which coincides with the Makara Sankranthi and is celebrated in Tamil Nadu, young girls prayed for rain and prosperity and throughout the month, they avoided milk and milk products. Women used to bath early in the morning and worshiped the idol of Katyayani, carved out of wet sand. The penance ended on the first day of the month of Thai (January–February) in Tamil calendar.

Parvathi:

Parvati is the Hindu goddess of power, energy, nourishment, harmony, love, beauty, devotion, and motherhood. In her complete form, she is a physical representation of Mahadevi also known as Adi Shakti, the primordial power behind the creation of the universe, the creator and destroyer. She is one of the central deities of the goddess-oriented sect called Shaktism, and the supreme goddess in Shaivism. Along with Lakshmi and Sarasvati, she forms the Tridevi. Parvati is the wife of Shiva. She is a primordial goddess in Hinduism.Parvati and Shiva have taken many incarnations and divine forms together.Parvati is the mother of the Hindu deities Ganesha and Kartikeya, Ashokasundari and many other deities. The Puranas also say that she is the companion of the river goddess Ganga, and Vishnu. For Hindus, she is considered to be the divine energy between a man and a woman, like the energy of Shiva and Shakti.

Parvati is a powerful, primordial mother goddess, and also has several fearsome forms and killed evil beings in forms such as Gauri, Durga, Kali, the ten Mahavidyas, and the Navadurgas. Parvati is an embodiment of Shakti. In Shaivism, she is the recreative energy and power of Shiva, and she is the cause of a bond that connects all beings and a means of their spiritual release. She is also well known as Kamarupa (the embodiment of one's desires) and Kameshvari (the lordess of one's desires). In Hindu temples, shrines are dedicated to her and Shiva, she is symbolically represented as the argha. She is found extensively in ancient Indian literature, and her statues and iconography are present in Hindu temples all over South Asia and Southeast Asia.

Parvata 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 Mantalai, Udhampur in the Indian Union Territory of Jammu and Kashmir 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, and Girirajaputri (Daughter of king of 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 was dissuaded by her mother from severe austerity by saying u ma . 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 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 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.

History:The word Parvati does not explicitly appear in Vedic literature. Instead, Ambika, Rudrani and others are found in the Rigveda. The verse 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 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 Sati-Parvati, although  later texts that extol Siva and Pārvatī retell the episode in such a way to leave no doubt that it was siva's spouse.

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 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 the more ferocious, destructive Kali, Gauri, Nirriti in another aspect.[20][34] 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.

    Iconography and symbolism: Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful, and benevolent. She typically wears 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, 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, 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 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.[citation needed] 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 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 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, 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 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, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects.[47] 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.She identifies and destroys evil to protect (Mahakali), as well as creates food and abundance to nourish (Annapurna).

From being born as a human, showing determination and perseverance in marrying Shiva (who preferred being an ascetic), to realizing with the great effort her true power and potential, awakening the Adishakti in herself, and becoming a goddess venerated by the Trimurti and the rest of the entire universe, Parvati inspires a person to embrace their human strengths and flaws, and utilize them to achieve their highest potential, to live life with their head held up high.
Manifestations:
Several Hindu stories present alternate aspects of Parvati, such as 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 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 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 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.

  Akhilandeshwari, found in coastal regions of India, is the goddess associated with water.Uma devi/Tripura Parvati, a goddess who looks like Bhuvaneshvari. She assumed to destroy ego of Devas. Her Dhyana Shloka is mentioned in 13th chapter of Devi Mahatmya.    Shiva himself, Shiva and Parvati are sometimes thought of as being identical and the same as a higher "God" who is both male and female .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 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,[6] 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, 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 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 the sea and you the wave,
    You are Prakṛti, and I Purusha.
  

Parvati with Shiva and sons Ganesha (leftmost) and Kartikeya (rightmost). Parvati is depicted with green complexion, denoting dark complexion. 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 the birth of Parvati and how she married Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala.[24] 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 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 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 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 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 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.Shiva and Parvati as Uma-Maheshvara; 11th-century sculpture.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 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.[65] In stories of 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 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 the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts,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 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.Ardhanarishvara – the Hindu concept of an ideal couple as complementing union, inspired by Siva-Parvati. Ardhanarishvara in Elephanta Caves (left), and as an androgynous painting with one half Shiva, the other Parvati.

Ardhanarisvara:Parvati is portrayed as the ideal wife, mother, and householder in Indian legends. In Indian art, this vision of the ideal couple 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.Ideal wife, mother, and more 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 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 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.[40] Her connection with motherhood and female sexuality does not confine 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 is not a limiting condition.Parvati is seen as the mother of two widely worshipped deities — Ganesha and Kartikeya.

Ganesha: 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:    Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated, lost his temper, and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She demanded that Shiva restore Ganesha's life at once. Shiva did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant-headed deity.

In culture Festivals: Teej is a significant festival for Hindu women, particularly in the northern and western states of India. Parvati 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 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. Parvati being celebrated at Gauri Festival, Rajasthan.

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, 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 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 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, 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).

Arts: Attributed to Khushala The Gods Sing and Dance for Shiva and Parvati (late 18th century), From sculpture to dance, many Indian arts explore and express 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.The Gauri-Shankar bead is a part of religious adornment rooted in the belief of Parvati and Shiva as the ideal equal complementing halves of the other. Gauri-Shankar is a particular rudraksha (bead) formed naturally from the seed of a tree found in India. Two seeds of this tree sometimes naturally grow as fused and are considered symbolic of Parvati and Shiva. These seeds are strung into garlands and worn, or used in malas (rosaries) for meditation in Saivism.

Numismatics Ancient coins from Bactria (Central Asia) of Kushan Empire era, and those of king Harsha (North India) feature Uma. These were issued sometime between the 3rd- and 7th-century AD. In Bactria, Uma is spelled Ommo, and she appears on coins holding a flower. On her coin is also shown Shiva, who is sometimes shown in the ithyphallic state holding a trident and standing near Nandi (his vahana). On coins issued by king Harsha, Parvati and Shiva are seated on a bull and the reverse of the coin has Brahmi script.

Major temples and Shakti Peetha: Meenakshi Amman temple in Madurai, Tamil Nadu is a major temple dedicated to Meenakshi, an aspect of Hindu goddess Parvati. Parvati is often present with Shiva in Saivite Hindu temples all over South Asia and Southeast Asia. Some locations (Pithas or Shaktipeeths) are considered special because of their historical importance and legends about their origins in the ancient texts of Hinduism.

Budha:

Budha is the Sanskrit word for the planet Mercury. Budha is also a god of Planet Mercury. He is also known as Saumya, Rauhineya,[4] and rules over the nakshatras (lunar mansions) of Ashlesha, Jyeshtha, and Revati.

Planet: Budha is the planet that appears in various Hindu astronomical texts in Sanskrit, such as the 5th century CE Aryabhatiya by Aryabhatta, the 6th century CE Romaka by Latadeva and Panca Siddhantika by Varahamihira, the 7th century CE Khandakhadyaka by Brahmagupta, and the 8th century CE Sisyadhivrddida by Lalla. These texts present Budha as one of the planets and find the characteristics of the respective planetary motions. Other texts such as Surya Siddhanta dated to have been complete sometime between the 5th century CE and 10th century CE present their chapters on various planets with the mythologies of their gods.

      The manuscripts of these texts exist in slightly different versions, present Budha's motion in the skies, but vary in their data, suggesting that the text were open and revised over their lives. The texts slightly disagree in their data, in their measurements of Budha's revolutions, apogee, epicycles, nodal longitudes, orbital inclination, and other parameters. For example, both Khandakhadyaka and Surya Siddhanta of Varaha state that Budha completes 17,937,000 revolutions on its own axis every 4,320,000 years, and had an apogee (aphelia) of 220 degrees in 499 CE; while another manuscript of Surya Siddhanta increases the revolutions by 60 to 17,937,060, and the apogee to 220 degrees and 26 seconds. The 1st millennium CE Hindu scholars had estimated the time it took for sidereal revolutions of each planet including Budha, from their astronomical studies, with slightly different results:

Legends: Budha is a god in Hindu mythology, and he is the son of Chandra and Rohini. Budha has a son, King Pururavas, by his wife Ila. One of the earliest mentions of Budha appears in the Vedic text Pancavimsa Brahmana, and it appears in other ancient texts such as the Shatapatha Brahmana as well, but not in the context of astrology. Calendar and Hindu astrology Budha is the root of the word 'Budhavara' or Wednesday in the Hindu calendar.The word "Wednesday" in the Greco-Roman and other Indo-European calendars is also dedicated to planet Mercury .

Budha is part of the Navagraha in the Hindu zodiac system, considered benevolent, associated with an agile mind and memory. The role and importance of the Navagraha developed over time with various influences. Glorifying planetary bodies and their astrological significance occurred as early as the Vedic period and was recorded in the Vedas. The earliest work of astrology recorded in India is the Vedanga Jyotisha which began to be compiled in the 14th century BCE. The classical planets, including Mercury, were referenced in the Atharvaveda around 1000 BCE.

The Navagraha was furthered by additional contributions from Western Asia, including Zoroastrian and Hellenistic influences. The Yavanajataka, or Science of the Yavanas, was written by the Indo-Greek named "Yavaneshvara" ("Lord of the Greeks") under the rule of the Western Kshatrapa king Rudrakarman I. The Yavanajataka written in 120 CE is often attributed to standardizing Indian astrology. The Navagraha would further develop and culminate in the Shaka era with the Shaka, or Scythian, people. Additionally the contributions by the Shaka people would be the basis of the Indian national calendar, which is also called the Shaka calendar. Budha is also the root for name for the week day in many other Indian languages. In modern Hindi, Odia, Telugu, Bengali, Marathi, Urdu, Kannada and Gujarati, Wednesday is called Budhavara; Tamil: Budhan kizhamai; Malayalam: Budhanazhcha; Thai: Wan Phut

Iconography: A Painting of Budha in Jawahar Kala Kendra, Jaipur. Budha's iconography, according to Roshen Dalal, is as a benevolent male god with green body, draped into yellow clothes, holding a scimitar, a club, and a shield. He is riding a chariot, drawn by eight yellow horses; and in illustrations, he rides a lion and has four arms, and in Budha Temple he is depicted riding a lion.

Chandi:

Chandi  is a Hindu deity. Chandika is another form of Mahadevi, similar to Durga.Chandika is a powerful form of Mahadevi who manifested to destroy evil. She is also known as Kaushiki, Katyayani, Asthadasabuja Mahalakshmi and Mahishasuramardini.
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History:Candi or Candika is the name by which the Supremely divine is referred to in Devi Mahatmya. Chandi represents the killer of Chanda. Chanda and Munda were Ashur's strong army generals.Bhaskararaya, a leading authority on matters concerning Devi worship, defines Chandi as 'the angry, terrible or passionate one'.The designation of Chandi or Chandika is used twenty-nine times in the Devi Mahatmya, which is agreed by many scholars to have had originated in Bengal, the primary seat of the Shakta or Goddess tradition and tantric sadhana since ancient times. It is the most common epithet used for the Goddess. In Devi Mahatmya, Chandi, Chandika, Ambika and Durga have been used synonymously.It is also called Navarna Mantra or Navavarna Mantra. Besides the Sri Vidhya mantras, it is one of the principal mantras in Shakti worship. It is customary to chant this mantra when chanting the Devi Mahatmya. She is supposed to live in a place called Mahakal, which is close to Kailasa.Named after the goddess is the city of Chandigarh (literally: 'fort of Chandi'), the joint capital of the Indian states of Punjab and Haryana.

           LegendsChandika is an avatar of Durga. The three principal forms of Durga worshipped are Mahagauri, Chandika and Aparajita. Of these, Chandika has two forms called Chandi and Chamunda who is created by the goddess Kaushiki for killing demons Chanda and Munda. She is known as the supreme goddess Mahishasuramardini or Durga who slayed the demon Mahishasura. She has been affiliated with and also considered as Katyayini, Kaushiki or Ambika who killed Shumbha, Nishumbha and their fellow demons. The great Goddess was born from the energies of the male divinities when the devas became impotent in the long-drawn-out battle with the asuras. All the energies of the Gods became united and became supernova, throwing out flames in all directions. Then that unique light, pervading the Three Worlds with its lustre, combined into one, and became a female form.

"Devi projected overwhelming omnipotence. The three-eyed goddess was adorned with the crescent moon. Her multiple arms held auspicious weapons and emblems, jewels and ornaments, garments and utensils, garlands and rosaries of beads, all offered by the gods. With her golden body blazing with the splendour of a thousand suns, seated on her lion vehicle, Chandi is one of the most spectacular of all personifications of Cosmic energy."

In other scriptures, Chandi is portrayed as "assisting" Kali in her battle with the demon Raktabīja. Chandi wounded him, but a new demon sprang up from every drop of his blood that fell on the ground. By drinking Raktabīja's blood before it could reach the ground, Kali enabled Chandi to first destroy the armies of demons and finally kill Raktabīja himself.[10] In Skanda Purana, this story is retold and another story of Mahakali killing demons Chanda and Munda is added.Authors Chitralekha Singh and Prem Nath says, "Narada Purana describes the powerful forms of Lakshmi as Durga, Kali, Bhadrakali, Chandi, Maheshwari, Lakshmi, Vaishnavi and Andreye". Also, she is the one who purified Halahal (during Samudra Manthan) into Ambrosio (Amrit).

Chandi Homa (Havan): Chandi Homa is one of the most popular Homas in Hindu religion. It is performed across India during various festivals, especially during the Navaratri. Chandi Homa is performed by reciting verses from the Durga Sapthasathi and offering oblations into the sacrificial fire. It could also be accompanied by the Navakshari Mantra. Kumari Puja, Suvasini Puja also form a part of the ritual.

Iconography: A Burmese portrayal of Chandi (Sandi Dewi). The dhyana sloka preceding the Middle episode of Devi Mahatmya the iconographic details are given. The Goddess is described as having vermilion complexion, eighteen arms bearing string of beads, battle axe, mace, arrow, thunderbolt, lotus, bow, water-pot, cudgel, lance, sword, shield, conch, bell, wine-cup, trident, noose and the discus (sudarsana). She has a complexion of coral and is seated on a lotus. In some temples the images of Maha Kali, Maha Lakshmi, and Maha Saraswati are kept separately. The Goddess is also portrayed as four armed in many temples. In folklore of Bengal

Chandi is one of the most popular folk deities in Bengal, and a number of poems and literary compositions in Bengali called Chandi Mangala Kavyas were written from 13th century to early 19th century. These had the effect of merging the local folk and tribal goddesses with mainstream Hinduism. The Mangal kavyas often associate Chandi with goddess Kali or Kalika and recognise her as a consort of Shiva and mother of Ganesha and Kartikeya, which are characteristics of goddesses like Parvati and Durga.The concept of Chandi as the supreme Goddess also underwent a change. The worship of the goddess became heterogeneous in nature.

Chandi is associated with good fortune. Her auspicious forms like Mangal Chandi, Sankat Mangal Chandi, Rana Chandi bestow joy, riches, children, good hunting and victory in battles while other forms like Olai Chandi cure diseases like cholera, plague and cattle diseases.These are almost all village and tribal Goddesses with the name of the village or tribe being added onto the name Chandi. The most important of these Goddesses is Mongol Chandi who is worshipped in the entire state and also in Assam. Here the word "Mongol" means auspicious.

Mariamman:

Mariamman, often abbreviated to Amman, is a Hindu goddess of weather, predominantly venerated in the rural areas of South India. Her festivals are held during the late summer/early autumn season of Adi throughout Tamil Nadu and the Deccan region, the largest being the Adi Thiruvila. Her worship mainly focuses on bringing rains and curing diseases like cholera, smallpox, and chicken pox. Mariamman is worshipped in accordance with local traditions such as Pidari or the Gramadevatai. She is considered as a guardian deity (kaval deivam) by many South Indian village-dwellers.

Origin: Mariamman's worship originated in the traditions of Dravidian folk religion. She is the main Tamil mother goddess, predominantly venerated in the rural areas of South India. Mariamman has since been associated with Hindu goddesses like Parvati,Kali, Durga,Rukmini, Sita,Draupadi,as well as with her northern Indian counterpart Shitala, her eastern Indian counterpart, Olai Chandi, and her western Indian counterpart of Mogal mata. The word Mari has the Sangam Tamil origin meaning "Rain", and the Dravidian root term Amman means "Mother". She was worshipped by the ancient Tamils as the bringer of rain and thus also the bringer of prosperity, since the abundance of their crops was dependent largely upon adequate rainfall. The cult of the mother goddess is treated as an indication of a society which venerated femininity. The temples of the Sangam days, mainly of Madurai, seem to have had priestesses to the deity, which also appear predominantly as goddesses.In Sangam literature, there is an elaborate description of the rites performed by the Kuravar priestesses in the shrine Palamutircholai.

   Iconography: Mariamman is usually pictured as a beautiful young woman with a red-hued face, wearing a red dress. Sometimes she is portrayed with many arms representing her many powers but in most representations she has only two or four. Mariamman is generally portrayed in the sitting or standing position, often holding a trident (trisula) in one hand and a bowl (kapala) in the other. One of her hands may display a mudra, usually the abhaya mudra, to ward off fear. She may be represented with two demeanours one displaying her pleasant nature, and the other her terrifying aspect, with fangs and a wild mane of hair.

Legends: Erode Mariamman Ther Thiruvizha, The origin of the goddess Mariamman in terms of a consistent and coherent legend has not been standardised, but several myths of the mother goddess exist in several regional traditions that are spread orally throughout South India. According to a regional Hindu legend, there was once a beautiful woman named Nagavalli, wife to a rishi named Piruhu. When the rishi was away, the Trimurti, the deities of Brahma, Vishnu, and Shiva, visited her, seeking to decide for themselves if she was truly as beautiful and virtuous as she was supposed to be. Nagavalli, not recognising them, and resenting their intrusion, turned them into children with her powers. The deities were infuriated and cursed her, causing her face to become disfigured with smallpox. When Piruhu returned, he drove her away, informing her that she would be born on earth, causing her affliction to human beings as well.

According to the Vanniyar community, an agrarian class, Draupadi, the common wife of the Pandavas, is said to be an incarnation of the goddess Shakti. Draupadi, despite being Shakti, lived like a normal woman, suppressing her supernatural powers. While they were in exile, when the Pandavas were asleep at night, she would travel to the villages of Vanniyar in the form of a fierce looking Goddess. Vanniyars would offer her prayers and barley, which pleased her. In time, she would be called Mariamman (the mother of rain and curing diseases), and became popular in the Vanniyar villages.According to the narrative of the higher varnas, there was once a pariah boy who impersonated a Brahmin suitor in order to marry a Brahmin girl. This lie is discovered by the girl when she discerns the jargon and non-vegetarian habits of her in-laws. In order to ritually purify herself from the pollution of being married to a low-born pariah, the girl self-immolates. This Brahmin girl is deified and named as Mariamman, and becomes the goddess of the pariahs.

In northern India, Shitala is worshipped in a similar way, predominantly by the Rajput/Kshatriya community. Shitala has a legend and plays a similar role in protecting villages from diseases.

Roles: Goddess of medicine,Mariamman cures all so-called "heat-based" diseases like pox and rashes. During the summer months in South India (March to June), people walk miles carrying pots of water mixed with turmeric and neem leaves to ward off illnesses like the measles and chicken pox. In this way the goddess Mariamman is very similar to the North Indian goddess Shitaladevi.

Fertility goddess: Devotees also pray to Mariamman for familial welfare such as fertility, healthy progeny or a good spouse. The most favoured offering is "pongal", a mix of rice and green gram, cooked mostly in the temple complex, or shrine itself, in terracotta pots using firewood. Some festivals in honour of the goddess Mariamman involve night-time processions of devotees carrying oil lamps.Mariamman is the family deity for many in the Thanjavur district of Tamil Nadu. It is a custom initially to worship the family deity on occasions such as weddings. The worship of a 'family deity' (kuladevata), considered most important in any Hindu festival, continues down the generations, providing a clue to the family's origin, since the family deities are usually located within the vicinity of the village to which the family originally belonged.

Worship: The worshipping methods are often accompanied by various kinds of folk dancing.Offerings such as pongal and koozh that are cooked using earthen pots are also made during the festive season. Rituals such as fire walking and mouth or nose piercing are also practised. At the Samayapuram Mariamman Temple in Samayapuram, the Hindu system of worship is still seen today for the worship of Mariyamman, which involves a ten-day festival organized by temple authorities during the second week in April. Some continue to use an old village custom of worship by offering chickens and goats to the deity, though the animals are no longer sacrificed but sold after being offered. The main worship of the goddess occurs on the road a mile or two from the temple. A hurried walk and dance carry hundreds of thousands of worshippers along the road to the temple.

Many in the crowd have fasted, shaved their heads, and wear bright yellow clothes which are sacred to the goddess. Women and children may carry a pot on their heads decorated with the goddess's favourite leaves, of the margosa tree. Young men and women, carrying similar pots, are followed by drummers and dance more wildly. Larger men and women carry pots of charcoal fire. Some put themselves through a special tribulation of having one of the sacred weapons, dagger, trident, or spear, inserted through their cheeks or tongues.Through this worship each individual achieves self-realization and awareness of others through samsara and moksha. In this self-realization a bonding with the goddess occurs, which is the underlining reason for the worship.
Mulaikottu

Mulaikottu is a village festival celebrated in southern Tamil Nadu, particularly in villages of Madurai, Sivagangai, Dindugul, Ramanathapuram, Thoothukudi and Thirunelveli districts. By doing so they believe that they can get her blessing and sufficient rain for better cultivation. This festival is generally celebrated in between Any Tamil month of panguni to Purattasi. The festival lasts for 11 days. On the auspicious beginning of the village festival, a village meeting will be convened to sort out the best suitable date for the celebration of Mulaikottu. Before fixing any date, the pradhana and secretary of the village gather some information from the villagers regarding any marriage or anyone suffering from chicken pox etc. If anyone is affected by chicken pox, any sudden death occurred or someone's marriage is taking place, under these circumstances the date of mulaikottu will be either postponed or cancelled according to the public opinion at the meeting.

The celebration begins with collection of nine different types of grain seeds from every house, called thandal in Tamil. The Thandal will held in Sunday of Valarpirai. The following Tuesday is the second day of thandal called Pari parapputhal. Next Tuesday, the main function is held on the day called mulaikottu. On the next day of thandal, the temple committee distribute the grains to every house for setting up of pari. The pari is a clay pot with a wide mouth and narrow base with a hole in the bottom. This utensil is specially made for this purpose and sold at the market. The villagers visit the market and purchase number of paris as they wanted to set up in their home. The first step to set them up is to clean paris and their home the second day of thandal. People used to collect goat dung and some hay. The hay is used to block the hole of the pari. A layer of goat dung is spread over the hay and watered to make the dung wet. This is the procedure of setting up of pari.

As a next step to this, the received nine type of grains from the temple committee, is smoothly spread over the goat dung on the pari. Following this, a pooja will be arranged for praying the goddess to make the pari a successful one. Every house may have more than two paries. These paries taken into a dark and isolated room in their house. For the next seven days they have to grow the seedlings into a plant. Usage of loudspeaker and crackers are completely banned during this period. During evening, all villagers assemble in front of the Mariamman temple and sing folk songs known as mari pattu and dance folk dances such as mulaikottu ( similar to kummi), Amman oyil. It is followed everyday from thandal Sunday (First day) to next Sunday (eighth day). The ninth day called thangal, means camping. On this day the temple is closed and folk poojas and dances are prohibited.

The Amman karagam is made in village water body and the person who fasts in those 10 days is called Ammadi (The person who depicted as Amman). The amandi takes the karagam and gave to temple. All paris are brought into the Amman temple from the houses on the tenth day of thandal. The paris remain in the Amman temple for one night and on the next day (the last day, eleventh day, Wednesday), and after a pooja, the paries will be issued back to their respective member. The Ammadi again takes karagam and the mulaiparis are also taken from the temple. Finally, the amman Karagam and mulaiparis are submerged into the village pond.

It is also celebrated in Madurai amman temple on the Tamil month of Aadi. In the Tamil Diaspora, Her worship has been brought over across the Tamil Diaspora in places such as the Caribbean (See: Caribbean Shaktism), South Africa, Mauritius, Singapore, Vietnam, and Fiji where festivities and temples are often done and built in her name. Her trance-worship has been brought via the Girmityas to around the world, where similar traditions to those in Mainland Tamil Nadu are practiced. Often times, Mariamman is syncretized with Kali.

Temples:This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. most temples to Mariamman are simple village shrines, where both male and female priests perform sacred rituals. In many rural shrines, the goddess is represented by a granite stone with a sharp tip, like a spear head. This stone is often adorned with garlands made of limes and with red flowers. These shrines often have an anthill that could be the resting place of a cobra. Milk and eggs are offered to propitiate the snake. Some temples have attained sufficient popularity for Brahmanas to officiate at them. For example, the Samayapuram Mariamman near the shore of river Kaveri in the northern outskirts of Tiruchirapalli, maintains a rich agamic tradition and all rituals are performed by Gurukkalas.

Punainallur, near Thanjavur, is the location of another famous Mariamman temple. Legend says that Mariamman appeared to the King Venkoji Maharaja Chatrapati (1676–1688) of Thanjavur in his dreams and told him she was in a forest of Punnai trees three miles distant from Thanjavur. The King rushed to the spot and recovered an idol of Mariamman from the jungle. On the king's orders a temple was constructed there, the idol installed, and the place was called Punnainallur. Hence the deity of this temple is known as Punnainallur Mariamman. Mud replicas of different parts of the human body are placed in the temple as offerings by devotees pleading for cure. It is said that the daughter of Tulaja Raja (1729–35) of Thanjavur, who lost her eyesight due to illness, regained it after worshipping at this temple. Shri Sadasiva Brahmendra is said to have made the Moola Murthi of the Goddess Maariamman from the mud from the ant-hill where snakes had resided.

Salem Kottai Sri Periya Mariamman temple which is located in the heart of the city, the Aadi festival celebrated for 22 days. The Erode Mariamman temple festival is a grand one in Tamil Nadu. The worship of three Mariamman goddesses named Small, Medium and Large Mariamman (residing at three separate localities within the city) is combined in a festival every April. It features the Thiruvizha, along with all the other devotions to deities, and ends at the Kaveri river with the purificatory immersion of the Kambam (the effigy of Mariamman's husband Shiva) in the flowing waters of the river.

The Karur Mariamman temple festival, which is celebrated at the end of May each year, is another notable festival held in honour of the goddess in Tamil Nadu.Other important temples of Mariamman in Tamil Nadu are in the towns of Veerapandi, Theni, Anbil (near Trichy), Narthamalai, Thiruverkadu, Salem, Virudhunagar and Sivakasi, Vellore. In Chennai (Madras), a famous Mariamman temple is the Putthu Mariamman: the eponymous Putthu (ant-hill) being located across the road from the temple on the opposite side of the Velachery Main Road.In 2012, the singer Harini composed a song about the Samayapuram Mariamman deity which was featured on the album Om Nava Sakthi Jaya Jaya Sakthi. The song narrates the power of Shakti as Samayapuram Amman and equates the Peruvalai River with Punya Theertham, as do the people in that area.

Madurai is home to the Theppakulam sri Mariamman Temple, a noted focus of devotion, primarily to the goddess but also to the Maruthuvachi . Periyachi Amman (or Pechi Amman), who was deified for her skill and heroism. The temple possesses a large theppakulam. Here the Panguni festival is the main event of the religious calendar. The devotees of The goddess Mariamman observe the "poo choridhal" flower festival, and in the month of Aadi many women honour her with fasting and prayer.

Another famous Mariamman temple is situated in the state of Karnataka, in the town of Kaup, seven kilometres from the famous temple town of Udipi.There is also a famous and highly regarded Mariamman temple in Urwa, a residential area of the city of Mangalore, where through the power of the goddess many miracles have been reported to occur. The temple is known familiarly as Urwa Marigudi.

Outside India: Sri Mariamman temple in Medan, Indonesia

    Arulmigou Shri Madhur Kannanour Mariamman Thirukkovil, Port-Louis in Mauritius.
    Mariamman Temple, Ho Chi Minh City in Vietnam.
    Mariamman Temple, Bangkok in Thailand.
    Mariamman Temple, Pretoria in South Africa.
    Sri Mahamariamman Temple, Kuala Lumpur, Malaysia.
    Sri Mariamman Temple, Medan, Indonesia.
    Sri Maha Mariamman Temple, Penang, Malaysia.
    Sri Mariamman Temple, Singapore.
    Sri Muthu Mariamman Temple, Negombo, Sri Lanka.
    Mariamman Temple, Pretoria in South Africa.
    Mari Mata Mandir or Shri Mariamman Temple, Madrasi Para neighborhood of Karachi, in Pakistan.

There are many Mariamman temples outside India, in Mauritius, Malaysia, Singapore, Thailand, Fiji, Fiji Maha Shakti Mata Temple Nadi and Suva, Guyana, Vietnam, Trinidad and Tobago, Germany[18] and South Africa, the product of efforts of the Tamil diaspora. Some notable temples include the Sri Mariamman temple in Singapore, Sri Mariamman temple in Bangkok, a Mariamman temple in Pretoria, South Africa, as well as one in Sri Mariamman Temple, Medan, Indonesia.[citation needed]

There are also many Mariamman temple in every state of Malaysia. Some notable temples include the Queen Street Sri Maha Mariamman Temple, Penang in George Town, Sri Sithala Maha Mariamman Temple, Pekan Getah Tapah, Lorong Kulit Sri Muthu Mariamman Temple in George Town, Sri Rudra Verra Muthu MahaMariamman Temple in Air Itam, Sri Maha Mariamman Devasthanam in Arau, Sri Maha Mariamman Devasthanam in Alor Setar, Sri Maha Mariamman Temple in Sungai Petani, Sri Maha Mariamman Temple in Ipoh, Sri Nagamuthu Mariamman Temple in Taiping, Sri Maha Mariamman Temple in Gopeng, Sri MahaMariamman Temple, Kuala Lumpur, Sri Maha Mariamman Temple in Klang, Sri Maha Mariamman Temple in Chukai, Sri Maha Mariamman Temple in Port Dickson, Sri Maha Mariamman Temple in Kuantan, Sri Veera Sundara Muthu Mariamman in Kulim, Raja Mariamman Temple in Johor Bahru, Sri Maha Muthu Mariamman Temple in Tumpat, Sri Maha Mariamman Temple in Kuching, Sri Maha Mariamman Temple in Sibu, and Sri Muthu Mariamman Temple, Kampung Chetti, Melaka. There is another very popular temple dedicated to Mariamman in Matale, Sri Lanka.

Kamakhya:

Kamakhya is a Shakta Tantric deity; considered to be the embodiment of Kama (desire), she is regarded as the goddess of desire.Her abodeKamakhya Temple is located in the Kamarupa region of Assam, India.Originally a Kirata goddess, Kamakhya remained outside Brahmanical influence until at least 7th century CE. Residing on Nilachal hills across the banks of the Brahmaputra river, west of Guwahati in the 10th/11th century Temple rebuilt in 1565 CE,she is worshiped in a non-iconic and un-anthropomorphic form of stone shaped like yoni fed by a perennial stream. The temple is primary amongst the 51 Shakti Pithas, and is one of the most important Shakta temples.

    iconography: Kamakhya's iconography is mentioned in the Hindu scripture Kalika Purana. She has twelve arms and six heads of varying colours: white, red, yellow, green, black and colourful. Each head has a third eye. She is wearing opulent jewelry and red flowers such as hibiscus. She holds in each of ten hands a lotus, trident, sword, bell, discus, bow, arrows, club or scepter, goad, and shield. Her remaining two hands hold a bowl, which is made either of gold or a skull. She is seated upon a lotus, directly on top of Shiva, who in turn lies atop a lion. To each side of her sit Brahma and Vishnu, who are each seated upon a lotus, as well.

Origins: This historical origin of the Kamakhya Temple, to which the goddess Kamakhya is associated is not certain. The earliest stratum appears to be from the seventh century, and the evidence of a temple complex is dated to 10th/11th century. The Kalika Purana, dated similarly, gives an extensive description of the goddess, Assam and the temple.

Mythical: The origin of the Shakti Pitha at the site is associated with the legend of Sati, also known as Dakshayani, who was the wife of Shiva and daughter of the Puranic King Daksha. Daksha was unhappy with his daughter's choice of husband, and when he performed a grand yajna for all the deities, he did not invite Shiva or Sati. Sati however went to the sacrifice. Daksha humiliated Shiva, Sati couldn't bear the insults toward her husband and so, she jumped into the fire and left her body. Because she was the all-powerful mother goddess, Sati left her body in that moment to be reborn as the goddess Parvati. Meanwhile, Shiva was stricken with grief and rage at the loss of his wife. He threw two locks of his hair on the ground and from it emerged Virabhadra and Mahakali. Virabhadra and Mahakali destroyed the sacrifice while the former killed Daksha by cutting his head and burning it.

After Daksha's family and the other gods implored Shiva to restore his life, Shiva ordered the head of the sacrificial goat to be brought to him. The goat's head was later fixed on Daksha's body. Daksha later repented for his wrongdoings. Shiva forgave him and saw Sati's charred body. He put Sati's body over his shoulder and began his tandava (dance of cosmic destruction) throughout the heavens, and vowed not to stop until the body was completely rotted away. The other gods, afraid of the annihilation of the 3 worlds, implored Vishnu to pacify Shiva. Thus, wherever Shiva wandered while dancing, Vishnu followed. He sent his weapon, the Sudarshana Chakra to destroy the corpse of Sati. Pieces of her body fell until Shiva was left without a body to carry. Seeing this, Shiva sat down to do Mahatapasya (great penance). Despite the similarity in name, scholars do not generally believe that this legend gave rise to the practice of sati.

According to various myths and traditions, there are 51 pieces of Sati's body scattered across the Indian subcontinent. These places are called Shakti Pithas and are dedicated to various powerful goddesses. Kamarupa ("form of desire") is the region in which the yoni ("vulva," "womb," or "source") is said to have fallen to earth, and the Kamakhya temple was said to have been constructed on this spot. Devotees believe that, In Nilachal hill the yoni (womb) of Sati fell, And that yoni (womb) took the form of a woman who is called Kamakhya. The yoni (womb) is the place where the baby is reared for 9 months, and from this the baby enters this world.

And it is believed to be the reason for the creation of the world. Devotees come here to worship the fallen yoni (womb) of divine world mother Goddess Sati which is in the form of Kamakhya and worship that Goddess Sati's womb as the cause of the creation and rearing of the world. Just as a child emerges from the yoni (womb) of a human mother, in the same way, the world has arisen from the yoni (womb) of Mother Goddess Sati which is in the form of Kamakhya.

Legend:The legend of this goddess combines characters from Hindu literature and local traditions. Once, Narakasura, motivated by his desire, wanted to marry Kamakhya. When marriage was proposed, the goddess playfully put a condition before him that if he would be able to build a staircase from the bottom of the Nilachal Hill to the temple within one night before the cock crows to indicate dawn, then she would surely marry him. Naraka took it as a challenge, and tried all with his might to do this huge task. He was almost about to accomplish the job before it was dawn. When Kamakhya got this news, she cunningly strangled a cock, and made it crow untimely to give the impression of dawn to Naraka. Duped by the trick, Naraka left it halfway through. Now, the place is known as Kukurakata, situated in the district of Darrang. The incomplete staircase is known as Mekhelauja Path.

Upset with the treachery played by the devas, and as he knew himself to be unrivalled in prowess, he brought all the kingdoms on earth under his control. Next, he turned his eyes towards Svarga. Even the mighty Indra could not withstand the assault of this son of Vishnu, and had to flee the heavens. Narakasura had become the overlord of both the heavens and earth. As a punishment to all slights, he withheld the earrings of Aditi, the heavenly mother goddess, and took over some of her territory, while also capturing 16000 women for his own pleasure.All the devas, led by Indra, went to Vishnu to ask him to deliver them from Narakasura. Vishnu promised them that he would attend to this matter, when he would be incarnated as Krishna.

As promised to Bhudevi, Narakasura was allowed to enjoy a long reign. At last, Vishnu was born as Krishna. Aditi, who was a relative of Krishna's wife, Satyabhama, (believed to be an avatar of Bhudevi - Narakasura's mother), approached Satyabhama for help. Satyabhama approached Krishna for permission to wage a war against Narakasura. As promised to the devas and Aditi, Krishna attacked the great fortress of Narakasura, riding his mount Garuda with his wife, Satyabhama. Krishna used the Narayanastra and the Agneyastra against the army of Narakasura. The battle was furiously fought. Narakasura possessed 11 akshauhinis that he unleashed on Krishna. However, the deity slew them all with little effort. Krishna also killed Mura, Narakasura's general. Thus, Krishna is called 'Murāri' (the killer of Mura).

Narakasura used several divine weapons against Krishna, but Krishna easily neutralised all of them. At last, when Narakasura tried to kill Krishna with a trident, he saw goddess Kamakhya standing beside Hari, and eventually Krishna beheaded him with his Sudarshana Chakra (discus). His downfall is believed to have been caused by the maya made by the goddess Kamakhya.Before Narakasura's death, he is regarded to have requested a boon from his mother, Satyabhama, that everyone should celebrate his death with colorful light. Thus, this day is celebrated as 'Naraka Chaturdashi' - the day before Deepavali. Krishna accepted the women Naraka had captured as his wives upon their insistence to save their honour, since the populace viewed them as the spoils of Narakasura. The chief amongst them is sometimes called Rohini. After their weddings, they all lived in Dvaraka.

Identity: Kamakhya is mentioned in the Kalika Purana as the most important goddess of Tantric worship, and is referred to in the text as Mahamaya, the "great goddess of illusion", who takes on many forms depending on her mood. Devotees also call her Kameshvari beloved goddess of desire, and consider her a form of Tripura Sundari, also called Shodashi. She is identified with Kali in the Kalika Purana, Yoginitantra and Kamakhya Tantra, each of which echoes this verse: It is certainly well known that Kamakhya is truly none other than that mother goddess Kali, who is in all things the form of wisdom.

Kamakhya is associated with the Mahavidyas, who each have temples dedicated to them at the Kamakhya temple complex in Assam. She is also closely associated with Durga.Mantras for general worship of the Mahavidyas at the Kamakhya temple complex reveal a close identity with Kamakhya herself. Several of these goddesses are worshipped as forms of Kamakhya explicitly.Kamakhya's Ashtashaktis or eight incarnations are Guptakama, Srikama, Vindhyavasini, Kotishvari, Vanadurga, Padadurga, Dirgheshvari and Bhuvaneshvari.

Pratyangira:

Pratyangira , Simhamukhi, and Nikumbala, is a Hindu goddess associated with Shaktism. She is described to be the female energy and consort of Narasimha. According to the Tripura Rahasya, she is the pure manifestation of the wrath of Tripura Sundari. In the Vedas, Pratyangira is represented in the form of Atharvana Bhadrakali, the goddess of the Atharva Veda and magical spells.Narasimhi is part of the Saptamatrika mother goddesses.

Legends: There are many Hindu texts that narrate the different legends of Narasimhi.  In a tale in the Devi Mahatmyam, Narasimhi was one of the Saptamatrikas, or one of the seven mother goddesses who were forms of the goddess Mahadevi. They had assembled to defeat the asuras Shumbha and Nishumbha, who had overrun Svarga . According to many Puranas, at the end of the Krita Yuga, a glittering spark appeared from the universe and transformed into a wicked demon named Vipulasura. Vipulasura disturbed a group of eight sages who were performing rituals of Ashta Lakshmi. This angered the goddess Lakshmi who transformed a holy lotus flower into a kavacha or a strong shield. It is also mentioned that the lotus that was transformed had 562 petals in it. The shield provided a great protection to the eight sages, allowing them to perform the holy rituals without any disturbance. Following this, Mahadevi took the form of Narasimhi and defeated and killed the demon Vipulasura.

          According to the Markandeya Purana and Shiva Purana, in the beginning of the Treta Yuga, Narasimha, the fourth among the ten avataras of Vishnu, killed the unruly asura king Hiranyakashipu by disembowelling him. Narasimha grew furious and unstoppable due to the evil energies contained in Hiranyakashipu's body that entered into him. The story ends with Prahlada pacifying Narasimha and he returns to Vaikuntha after assuming his true form as Vishnu. In the Shaiva tradition, Shiva assumed the form of Sharabha, a bird-lion hybrid form. Sharabha tried to carry Narasimha in his talons, but Narasimha in turn assumed the form of Gandabherunda and engulfed Sharabha.

Upon the prayers of Shiva as Sharabha, Parvati took the form of Pratyangira and emerged out of the head of Sharabha, pacifying Narasimha and taking her place as his consort, Narasimhi, after which Narasimha released Sharabha. The term 'Prati' means reverse and Angiras means attacking. Thus, the goddess Pratyangira is the one who reverses any black magic attacks. In the temples of South India, she is also eulogised as Atharvana Bhadrakali as the she is considered the embodiment of the Atharva Veda.

Association: In some images she is shown as dark-complexioned, terrible in aspect, having a lion's face with reddened eyes and riding a lion or wearing black garments, she wears a garland of human skulls; her hair stands on end, and she holds a trident, a serpent in the form of a noose, a hand-drum and a skull in her four hands. She is associated with Sharabha and she has a variant form, Atharvana-Bhadra-Kali. She is considered to be a powerful repellent of the influences generated by witchcraft and is said to have the power to punish anyone doing Adharma. It is said that when Narasimhi shakes her lion's mane, she throws the stars into disarray.

Prathyangira is also mentioned in the Hindu epic Ramayana. Indrajita was performing "Nikumbala yajna" a sacred ritual to worship Goddess Nikumbala, which is another name of Goddess Pratyangirawhile Rama and his soldiers were waging war in Lanka. Hanuman came down to stop this ritual because he knew that if Indrajita completed it, he would become invincible and he stopped the yajna and thus, Lakshmana defeated and killed Indrajita in the Battle of Lanka.

Worship: Tantra classifies deities as Shanta (calm), Ugra (wrathful), Prachanda (horrifying), Ghora (terrifying) and Teevara (ferocious). Pratyangira is considered as a teevara murti. Pratyangira worship is strictly prohibited for people who have namesake Bhakti. Pratyangira worship is only done by the guidance of a Guru who is proficient in Tantra.Worships dedicated to Pratyangira is performed at many places for the welfare of the people and for eliminating the influences of evil forces. In some temples, Pratyangira Homam is performed on the days of Amavasya.

Eight kinds of Tantric acts, Like all Tantric deities, she can be invoked for the eight kinds of acts usually performed. They are appealing, growth, increasing, attracting, subduing, dissention repealing and killing. Detailed information is found as to what kind of materials are to be used for the respective aim, and the number of recitations to be performed. It is further said that any act performed invoking this deity, especially the bad ones like killing and subduing, it is impossible to retract it even when the doer wishes.

Kaushiki:

Kaushiki  is a Hindu goddess, a deity who emerged from the sheath of Parvati.She was created before Parvati's conflict with the asura brothers Shumbha and Nishumbha, and was also the reason the Matrikas come into existence.

legends: Puranas, The story of Kaushiki is described in Devi Mahatmyam of Markandeya Purana. The Devi Mahatmyam describes that the goddess Kaushiki appeared from the sheath (or kosha) of the goddess Parvati’s body when the devas sang her praises after she defeated the asuras Shumbha and Nishumbha. Their eulogies that were intended to be a plea for help caused her to manifest from Parvati's form as a fair-skinned and bright being, earning the epithet 'Gauri'. The fact that she had been created from the cells of Parvati caused her to name herself Kaushiki, literally meaning 'woman of the cell'. With the fairness of her skin separated from her form, Parvati became dark-skinned and assumed the name of Kali.

The deities went their separate ways, with Kaushiki departing to the Himalayas. The minions of the asura brothers, Chanda and Munda, caught a glimpse of Kaushiki and rushed to urge Shumbha to claim her. With the help of the Matrikas, who were the female forms of the Trimurti, consisting of Brahmani, Vaishnavi, and Maheshwari, along with Varahi, Narasimhi, and Shakti, and her other half, the goddess Chamunda (Kali), Kaushiki and her forces fought the asuras in a pitched battle in order to vanquish them and restore the natural order. Following this, Parvati performed a penance in the Himalayas to restore her shakti and complexion before reuniting with Shiva.

Shiva Purana associates Kaushiki with Ugratara . It mentions that Kaushiki is also called as Matangi because of her source i.e. Parvati. She alone is said to be Ugratārikā and great Ugratārikā. She is called Mātaṅgī after the source from which she manifested herself. Kalika Purana describes Kaushiki as the shakti that was born from the body of Goddess Matangi. Devi Bhagavata Purana describes Kaushiki as the Shakti that came out from the body of Goddess Parvati, and she is called ‘Kaushiki’ in the beginning of Devi Bhagavata Purana. O King! When the tormented Devas praised thus, the Devi created from Her body another supremely beautiful form. This created form, the Ambika Devi, became known in all the worlds as Kaushiki, as She came out of the physical sheath of the Devi Parvati.

 tatric Interperetations: Some claim that She is a form of Lakshmi citing Lakshmi Tantra from the 12th century which differs from the stance held by Mahapuranas like Srimad Devi Bhagwatam Markandeya Purana and Shiva Purana then it's mentioned there that Maa Kaushiki along with Maa Ashtadashabhuja Mahalakshmi and Maa Dashabhuja Mahakali is also the manifestation of Maa Hemavati.

Siddh Kshetras: Mahasaraswati Kaushiki has two siddh kshetras in Uttarakhand namely Kasar Devi in Almora and Chandi Devi in Haridwar. Both these places are regarded as the Place where she appeared and killed Shumbh And Nishumbh.Chandi Devi temple has another legend that She rested there after killing the asura duo. Besides, She is one of the three Pindis of Vaishno Devi along with Mahakali and Mahalakshmi.

Jagaddhatri

Jagatdhatri or Jagaddhatri  is an aspect of the Hindu goddess Durga, worshipped in the Indian state of West Bengal and other states like Odisha and Jharkhand. Jagaddhatri Puja is particularly famous in Chandannagar town of Hooghly district and Krishnanagar of Nadia district in West Bengal where it is celebrated as a five-day-long festival.Her worship and rituals are derived from Tantra. It is believed that her worship frees her devotees from ego and all other materialistic desires.According to the Purans, Jagadhatri is the incarnation of Siddhidhatri. She is also said to be the combined form of Sri Bhuvaneshwari and Durga. In Bengal, her puja is celebrated as the comeback of Devi, specifically in Krishnanagar, Chandannagar,Rishra and Guptipara.

legends: The legend of Jagaddhatri is inspired from a tale in the Kena Upanishad. In the Katyayani Tantra, the following legend is told. After the goddess Durga killed Mahishasura, the gods of Svarga forgot about her powers. So, in order to test them, Parvati appeared before the gods Agni, Vayu, Varuna, and Chandra, who considered themselves invincible and were engulfed by ahamkara. She asked them to move a tiny blade of grass. Vayu failed to pluck it; Agni failed to burn it. Every god failed at the task. In the end, they understood that the Goddess is the source of all power in the universe; even theirs. The goddess appeared before them as Uma, riding on a lion.

      The goddess is equated with Brahman in the narrative. The goddess gave the ego of the gods the form of an elephant. Jagaddhatri is depicted sitting on a lion with an elephant under them. The elephant, symbolizing ahamkara, lies under the paws of her vahana the lion, who symbolises courage, valour and the strength to overcome any challenges, including one's internal struggles with the Shada Ripus .You must believe in the Ishwara rupa. Do you know the meaning of Jagadhatri rupa? She is carrying the world. If she stops then the world will get destroyed is said by Sri Ramakrishna.

Her dhyana mantra describes her weapons, vahana and her Iconography. She is sitting atop a lion, wearing different jewelry, in her four hands Devi holds bow, arrow, chakra and Samkha. She is reddish like the rising sun and she is wearing a snake garland. Her reddish colour and weapons are the symbols of raja guna but this is not for destruction and going to war. Rather this is to keep the world focused on Ritam & Satyam.She sustains the universe through her Yoga shakti. Naga/Sarpa is the symbol of Yoga & Upavitam is the symbol of Bramhin. Devi is yogini. She is using the world through her maha yoga shakti. The act of rescuing the world is her Lila.

In her stotram (Jagadhatri Strotram), she has been invoked as Adhara bhutah, Dhritirupah, Dhurandharah, Dhruvapadah, Shaktistah, Shaktirupah, Shaktacharpriyah, Shaktivigrahe.It is said that she had killed the elephant demon, Kurandrasura. Its mention is not found in her dhyana mantra but in her idol an elephant is seen below her mount lion, who is none other than Kurandrasura.There are variations regarding the history of worship of the goddess in Bengal. The popular narrative states that the worship was begun by Maharaja Krishnachandra of Krishnanagar, Nadia. However, as per local history, the worship of goddess

Jagatdhatri was first established by Chandrachur Tarkamani of Santipur who made an idol of the goddess at the behest of Raja Girishchandra. At the time only ghat puja was conducted at Krishnanagar, Nadia in Bengal. Idol worship of the goddess was initiated in the village of Bramhasason, which is located in Haripur in Santipur, Nadia.Furthermore, the Jaleshwara temple of Shantipur(1665) and Raghaveshwara temple(1669) have the idol of the goddess inside the sanctum sanctorum as well as carved on the temple walls. So, her worship may have been known in Nadia long before Krishna Chandra. At Krishnanagar, Raj Rajeshwary Jagatdhatri Puja is one of the oldest in Bengal.

As per local history, Maharaja Krishnachandra was arrested by Nawab Siraj-ud-Dullah once for not paying taxes on time. He was released from prison during the day of Vijaya Dashami. Having missed the entire festivity of Durga Puja in his kingdom, Maharaja became extremely sad. Seeing her devotee sad, the ultimate mother, Goddess Jagaddhatri gave Maharaja a vision and the king commenced the ritual of Jagatdhatri Puja in his native place.The puja was performed by Raj Rajeshwary (Raj Mata in Bengali language) and before the start, a Jagatdhatri Puja was donated by Maharaja Krishna Chandra named Maa Jaleshwary at Malopara Barowary. The worship of the goddess was later resumed by Sarada Devi, wife of Ramakrishna.

The Jagatdhatri puja of Bose family and Chatterjee family, Palpara and Bhavanipur, deserves a special mention in this regard. The puja of Bose family initially used to be held in their ancestral home in Murshidabad. Folklore has it that this puja was started in 1788. The puja was later shifted to its present location in Chandannagar, where many of the family members now live. The exact history of the deity is unknown, but family records date it back to 1640.In Chatterjee family this puja originates from 1700 in Srirampur which later was shifted to Chatterjee's official ancestral home in 1 936 by Hari Mohan Chatterjee.

For over 40 years it remained the centre of attraction during the festivities.After the demise of Hari Mohan Chatterjee the puja was continued by 3 generations by Shashanka Chatterjee, Nilanka Chatterjee Son of Late Shashanka Chatterjee and at present by Tirthanka Chatterjee and Ankita Chatterjee (children of Nilanka and Jayeeta Chatterjee).In 2023 the puja got shifted again for the 2nd time in 200 years to Bangalore, marking a historic shift to South of India.The Puja is continued by Chatterjees with all grandeur and tradition dating back centuries.Researcher Mohit Roy has noted that Jagadhatri vigraha from Barisal(BD) is from the 8th Century. Currently, the vigraha is in the Ashutosh Museum(Kolkata). One must note that such Simha-Vahini vigrahas have been discovered plenty, particularly from western Bengal.

The first textual mention of Jagadhatri puja comes from Kalviveka of Smarta Shulapani, dated approximately from 1375 to 1460. Later Smartas Brihaspati Raymukut and Srinatha Acharya Churamani have mentioned the goddess in their work.The time in which she is worshipped, Shukla Paksha of the pious month of Kartika, especially the Tithi of Navami, is very auspicious. In ancient times, it was known as Chandika Puja. According to Smritisagara and Mahamohopadhhaya Panchanan Tarkaratna, it is the day to worship Uma.The oldest temple of the goddess is in Somra (Hooghly), also known as Mahavidya temple. It was established in 1621 CE.

The worship of the goddess takes place in the Dekhuria village as well in Birbhum. Still older is the Jagadhatri puja of Baligram village(Jiaganj, Murshidabad), dated back to five hundred years ago. Bandyopadhyay family of Mirhat of Kalna are observing Jagadhatri puja for more than four hundred years. Jagadhatri puja is the main Puja of Dhatrigram, Baidyapur & Mirhat of Kalna. The 350-year-old Chandrapati family's kuladevi is Jagrata, to say the least.

Festivities: The Goddess of Jagatdhatri at Chandannagar day of Navami puja, Jagatdhatri Puja is very popular in Krishnanagar, (Sutragarh-Santipur), Tehatta, Rishra, Chandannagar, Bhadreswar, Hooghly, Boinchi, Ashoknagar-Kalyangarh, Howrah. The beauty of the festival in Chandannagar is mainly due to the collaborative conception between the French and Bengalis. Remarkable feature remaining its procession, second largest in the world after Rio de Janeiro's, with its magnificent lightings.The Jagadhatri puja of Krishnanagar is a thing to see. During this time the city adorns itself with lots of lights, flowers, pandals and the likes. Each year more than 5 lakh devotees come to Krishnanagar to be a part of this grandiose festival. There are about 150-175 clubs and barowaris which organise Jagadhatri puja in the city.

The Jagadhatri puja of Krishnagar is a perfect blending of devotion, emotion and celebration. The most popular Jagadhatri goddess is the Burima of Chasa Para  Bengali Chasa means farmer. This deity is called the Tirupathi of Krishnanagar. Each year the idol is embellished with 150 kg gold and 150 kg silver ornaments with more than 10 benarasis and jamdanis. Besides Burima, Choto Ma the deity of Kathalpota Barowari,Mejoma the deity of College Street Barowari, Jaleswari the idol of Malo para Barowari are also very famous. The Trinayani Jagadhatri Puja Committee started the first sarbojanin ( for all )Jagadhatri Puja in the Bankura district. Although they started the first pujo in 2017, the first committee was formed in 2019. Here, the goddess Jagadhatri is known as Boroma. On the Shukla Navami tithi in the month of Kartika sometimes in Agrahayana, Trikalin Puja is performed .

On the eleventh day, the mother idol is immersed in Padmapukur with Dhunuchi dance, with ancient Bengali dhaak and procession. The main attraction of this pujo committee is that pujo is performed in a specific area but people from different locations of Bankura are associated with this pujo. In their words, "Para jar jar Boroma Sobar". Along with Pujo, this committee also does various social work. West Bengal Chief Minister Mamata Banerjee was present in the mandapa as the chief guest of the Trinayani Jagadhatri Puja in 2020. The Trinayani Jagadhatri Puja Committee is becoming popular among the people of Bankura.

After Ratha Yatra, Jagadhatri Mela at Bhanjpur Jagadhatri Podia, is the biggest mela of Baripada, Odisha. It is the festival of Maa Jagadhatri, Goddess of the whole world. There is an 8–15 day mela (carnival) also known as mini Bali Jatra named after Cuttack's Bali Jatra which takes place at Jagadhatri Mela Podia, Bhanjpur, near the Bhanjpur railway Station during the month of October–November. It is celebrated on Gosthastami. It is also referred to as another Durga Puja as it also starts on Asthami tithi and ends on Dashami tithi. The date of the puja is decided by the luni-solar Hindu calendar.

In 2013, the sarbajanina Maa Jagadhatri puja has been started on 11 November. But to commemorate the loss of Odisha, specifically Mayurbhanj district and Baripada due to Phailin and post Phailin flood, there will be no Cultural Program or Live telecast of this(2013) year's Jagadhatri Puja and Mela on Blue Sky (Local Cable Provider). But Mela will continue from 14 to 25 November 2013.
2023 Theme of Chandannagar Jagaddhatri Puja

Every year its main attraction is the Puja Torana(Pendal) and the Mela. The Pendal is decorated as a famous monument in 2011 it was a miniature of US Capitol Building, United States. This year, it is Lalitha Mahal, Mysore. From the year 2000 it has been a tradition to decorate the torana as a special infrastructure. Tajmahal, Agra; Victoria Memorial (India), Kolkata; Titanic Ship; Lotus Temple, New Delhi; Golden Temple, Punjab etc. were also mimicked in the previous years since 2000 to 2006. As a tribute to 26/11 Hotel Taj Mahal Palace & Tower, Mumbai attack victims, the torana of the year 2009 is a lookalike of that hotel. The pictures are shown here are the toranas decorated from 2007 to 2012 as the previous year's pictures are not available.

In literature: Goddess Jagatdhatri figures in the historical fiction Anandamath written by Bengali novelist Bankim Chandra Chatterjee. It is the same literary work from which the national song of India Vande Mataram originates. In the novel, Kali, Durga, and Jagatdhatri are depicted as three aspects of 'Bharat Mata' (Mother India) – Jagatdhatri as the mother used to be, Kali as the mother now is, and Durga as the mother will be in future. The trio of goddesses are shown as the object of worship of a group of ascetics who form the protagonists of the story.

Durga:

Durga is a major Hindu goddess, worshipped as a principal aspect of the mother goddess Mahadevi. She is associated with protection, strength, motherhood, destruction, and wars.Durga's legend centres around combating evils and demonic forces that threaten peace, prosperity, and dharma, representing the power of good over evil.Durga is believed to unleash her divine wrath against the wicked for the liberation of the oppressed, and entails destruction to empower creation.Durga is seen as a motherly figure and often depicted as a beautiful woman, riding a lion or tiger, with many arms each carrying a weapon and often defeating demons. She is widely worshipped by the followers of the goddess-centric sect, Shaktism, and has importance in other denominations like Shaivism and Vaishnavism.

The most important texts of Shaktism, Devi Mahatmya and Devi Bhagavata Purana, revere Devi the Goddess as the primordial creator of the universe and the Brahman ultimate truth and reality. She is one of the five equivalent deities in Panchayatana puja of the Smarta tradition of Hinduism.She is also considered as the younger sister of Vishnu as per Bhagavata purana. Durga has a significant following all over India, Bangladesh, Nepal, and many other countries. She is mostly worshipped after spring and autumn harvests, especially during the festivals of Durga Puja, Durga Ashtami, Vijayadashami, Deepavali, and Navaratri.

Etymology and nomenclature: Durga is commonly known as Mahisa-mardini for slaying the half-buffalo demon Mahishasura.She is also known as Vindhyavasini she who dwells in the Vindhya Mountains.Her other epithets include Mahamoha (great delusion), Mahasuri the great demoness, Tamasi the great night, the night of delusion. There are many epithets for Durga in Shaktism and her nine appellations are Navadurga: Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayini, Kalaratri, Mahagauri and Siddhidatri. A list of 108 names of the goddess is recited in order to worship her and is popularly known as the Ashtottarshat Namavali of Goddess Durga.Durga is also known as Durgati Nashini, meaning one who eliminates suffering.Her other names include Chandika, Sharada, Ambika, Vaishnavi etc.

   History and texts: Evidence of Durga-like images can probably be traced back to the Indus Valley civilisation. According to Asko Parpola, a cylindrical seal from Kalibangan shows a Durga like goddess of war, who is associated with the tiger. Reverence for Devi, the feminine nature of God, first appears in the 10th Maṇḍala of Rig Veda, one of the scriptures of Hinduism. This hymn is also called the Devi Suktam hymn abridged. Devi's epithets synonymous with Durga appear in Upanishadic literature, such as Kali in verse of the Mundaka Upanishad dated to about the 5th century BCE.This single mention describes Kali as "terrible yet swift as thought", very red and smoky coloured manifestation of the divine with a fire-like flickering tongue, before the text begins presenting its thesis that one must seek self-knowledge and the knowledge of the eternal Brahman.

Durga, in her various forms, appears as an independent deity in the Epics period of ancient India, that is the centuries around the start of the common era.Both Yudhisthira and Arjuna characters of the Mahabharata invoke hymns to Durga.She appears in Harivamsa in the form of Vishnu's eulogy, and in Pradyumna prayer. Various Puranas from the early to late 1st millennium CE dedicate chapters of inconsistent mythologies associated with Durga. Of these, the Markandeya Purana and the Devi-Bhagavata Purana are the most significant texts on Durga.The Devi Upanishad and other Shakta Upanishads, mostly dated to have been composed in or after the 9th century, present the philosophical and mystical speculations related to Durga as Devi and other epithets, identifying her to be the same as the Brahman and Atman self, soul.

In the Narada Purana, Durga is associated as a form of Lakshmi.In the Garuda Purana and the Vishnu Purana, Lakshmi is considered Prakriti (Mahalakshmi) and is identified with three forms Sri, Bhu and Durga.In Pancharatra texts such as the Lakshmi Tantra, Lakshmi has Durga as one of her forms and acquires the name Durga after killing the demon Durgamasura.These texts identify Durga as Vishnu's maya.The Mahishasura Mardini Stotra by Adi Shankara was written in her praise.

Origins:The historian Ramaprasad Chanda stated in 1916 that Durga evolved over time in the Indian subcontinent. A primitive form of Durga, according to Chanda, was the result of "syncretism of a mountain-goddess worshipped by the dwellers of the Himalaya and the Vindhyas", a deity of the Abhiras conceptualised as a war-goddess. In the Virata Parvan stuti and Vaishnava texts, the Goddess is called the Māhāmāyā, or the Yoganidrā of Vishnu. These further points her Abhira or Gopa origins.Durga then transformed into Kali as the personification of the all-destroying time, while aspects of her emerged as the primordial energy (Adya Sakti) integrated into the samsara (cycle of rebirths) concept and this idea was built on the foundation of the Vedic religion, mythology and philosophy.There are total of nine avatars of Goddess Durga in Hinduism.

Epigraphical evidence indicates that regardless of her origins, Durga is an ancient goddess. The 6th-century CE inscriptions in early Siddhamatrika script, such as at the Nagarjuni hill cave during the Maukhari era, already mention the legend of her victory over Mahishasura (buffalo-hybrid demon).Durga as a demon-slaying goddess was likely well established by the time the classic Hindu text called Devi Mahatmya was composed, which scholars variously estimate to between 400 and 600 CE.Devi Mahatmya and other mythologies describe the nature of demonic forces symbolised by Mahishasura as shape-shifting and adapting in nature, form and strategy to create difficulties and achieve their evil ends, while Durga calmly understands and counters the evil in order to achieve her solemn goals.

legends:The most popular legend associated with the goddess is of her killing of Mahishasura. Mahishasura was a half-buffalo demon who did severe penance in order to please Brahma, the creator. After several years, Brahma, pleased with his devotion, appeared before him. The demon opened his eyes and asked the god for immortality. Brahma refused, stating that all must die one day. Mahishasura then thought for a while and asked a boon that only a woman could be able to kill him. Brahma granted the boon and disappeared. Mahishasura started to torture innocent people. He captured Svarga and was not in any kind of fear, as he thought women to be powerless and weak. The devas were worried and they went to Trimurti. The Trimurti combined their power, and gave a physical form to the sum of their divine energy, Adi Shakti, a warrior woman with many arms. Himavan, the personification of the Himalayas, gifted a lion as her mount. Durga, on her lion, appeared before Mahishasura where the demon took on different forms and attacked the goddess. Each time, Durga would destroy his forms. At last, Durga slew Mahishasura with her trident when he was transforming as a buffalo demon.

According to Vaishnava tradition, Durga is among the various epithets and avatars of Yogamaya, the personification of the illusory power of Vishnu. Vishnu offers Durga the task of transferring the seventh child of Devaki into the womb of Rohini, as well as being born on earth as the infant daughter of Yashoda and Nanda, so that she could be swapped with Krishna. When Kamsa attempted to slay her, she manifested her true form of an eighteen-armed goddess, wearing a garland of lemons. The goddess announced that Kamsa's slayer had already been born, before vanishing.Durga is often conceptualised in this role as a sister of Vishnu.

Attributes and iconography: Durga is a warrior goddess, and she is depicted to express her martial skills. Her iconography typically resonates with these attributes, where she rides a lion or a tiger, has between eight and eighteen hands, each holding a weapon to destroy and create.She is often shown in the midst of her war with Mahishasura, the buffalo demon, at the time she victoriously kills the demonic force. Her icon shows her in action, yet her face is calm and serene.In Hindu arts, this tranquil attribute of Durga's face is traditionally derived from the belief that she is protective and violent not because of her hatred, egotism or getting pleasure in violence, but because she acts out of necessity, for the love of the good, for liberation of those who depend on her, and a mark of the beginning of soul's journey to creative freedom.

Durga traditionally holds the weapons of various male gods of Hindu mythology, which they give her to fight the evil forces because they feel that she is shakti (energy, power).These include the chakra, conch, bow, arrow, sword, javelin, trishula, shield, and a noose.These weapons are considered symbolic by Shakta Hindus, representing self-discipline, selfless service to others, self-examination, prayer, devotion, remembering her mantras, cheerfulness and meditation. Durga herself is viewed as the Self within and the divine mother of all creation.She has been revered by warriors, blessing their new weapons.Durga iconography has been flexible in the Hindu traditions, where for example some intellectuals place a pen or other writing implements in her hand since they consider their stylus as their weapon.

                        Archeological discoveries suggest that these iconographic features of Durga became common throughout India by about the 4th century CE, states David Kinsley professor of religious studies specialising on Hindu goddesses. In the north wall of a granite cave in Mamallapuram, Tamil Nadu there is a large relief of Durga slaying Mahisasura, carved around 630–674 CE.Durga iconography in some temples appears as part of Mahavidyas or Saptamatrkas (seven mothers considered forms of Durga). Her icons in major Hindu temples such as in Varanasi include relief artworks that show scenes from the Devi Mahatmya.In Vaishnavism, Durga and her mount of a lion, is considered one of the three aspects or forms of Goddess Lakshmi, the other two being Sri and Bhu, in place of Niladevi.According to professor Tracy Pintchman, When the Lord Vishnu created the gunas of prakriti, there arose Lakshmi in her three forms, Sri, Bhu and Durga. Sri consisted of sattva, Bhu as rajas and Durga as tamas.

Durga appears in Hindu mythology in numerous forms and names, but ultimately all these are different aspects and manifestations of one goddess. She is imagined to be terrifying and destructive when she has to be, but benevolent and nurturing when she needs to be.While anthropomorphic icons of her, such as those showing her riding a lion and holding weapons, are common, the Hindu traditions use aniconic forms and geometric designs (yantra) to remember and revere what she symbolises.

Worship and festivals:Durga is worshipped in Hindu temples across India and Nepal by Shakta Hindus.The Vedic Texts concluded Durga alone to be the Supreme and the Absolute facet of Brahman as stated in the Devi-Atharvashirsha She who is renowned by the name "Durga" is the being superior to whom, no one exists. Her temples, worship and festivals are particularly popular in eastern and northeastern parts of Indian subcontinent during Durga puja, Dashain and Navaratri.

Durga puja: As per the Markandeya Purana, Durga Puja can be performed either for 9 days or 4 days. The four-day-long Durga Puja is a major annual festival in Bengal, Odisha, Assam, Jharkhand and Bihar. It is scheduled per the Hindu luni-solar calendar in the month of Ashvina, and typically falls in September or October. Since it is celebrated during Sharad , it is called as Sharadiya Durga Puja or Akal-Bodhan to differentiate it from the one celebrated originally in spring. The festival is celebrated by communities by making special colourful images of Durga out of clay,recitations of Devi Mahatmya text,prayers and revelry for nine days, after which it is taken out in procession with singing and dancing, then immersed in water. The Durga puja is an occasion of major private and public festivities in the eastern and northeastern states of India.The day of Durga's victory is celebrated as Vijayadashami , Dashain or Dussehra  these words literally mean"the victory on the Tenth day

This festival is an old tradition of Hinduism, though it is unclear how and in which century the festival began. Surviving manuscripts from the 14th century provide guidelines for Durga puja, while historical records suggest royalty and wealthy families were sponsoring major Durga puja public festivities since at least the 16th century. the 11th or 12th century Jainism text Yasatilaka by Somadeva mentions a festival and annual dates dedicated to a warrior goddess, celebrated by the king and his armed forces, and the description mirrors attributes of a Durga puja.

The prominence of Durga puja increased during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. The city of Kolkata is famous for Durga puja.Dashain, In Nepal, the festival dedicated to Durga is called Dashain sometimes spelled as Dasain, which literally means the ten.Dashain is the longest national holiday of Nepal, and is a public holiday in Sikkim and Bhutan. During Dashain, Durga is worshipped in ten forms Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayani, Kalaratri, Mahagauri, Mahakali and Durga with one form for each day in Nepal. The festival includes animal sacrifice in some communities, as well as the purchase of new clothes and gift giving.

Traditionally, the festival is celebrated over 15 days, the first nine-day are spent by the faithful by remembering Durga and her ideas, the tenth day marks Durga's victory over Mahisura, and the last five days celebrate the victory of good over evil.During the first nine days, nine aspects of Durga known as Navadurga are meditated upon, one by one during the nine-day festival by devout Hindus. Durga is occasionally worshipped as a celibate goddess, but the Shaktism traditions includes the worship of Shiva along with Durga, who is considered to be his consort, in addition to Lakshmi, Saraswati, Ganesha and Kartikeya, who are considered to be Durga's children by Shaktas.Some Shaktas worship Durga's symbolism and presence as Mother Nature. In South India, especially Andhra Pradesh, Dussera Navaratri is also celebrated and the goddess is dressed each day as a different Devi, all considered equivalent but another aspect of Durga.

Other cultures: In Bangladesh, the four-day-long Sharadiya Durga Puja is the most important religious festival for the Hindus and celebrated across the country with Vijayadashami being a national holiday. In Sri Lanka, Durga in the form of Vaishnavi, bearing Vishnu's iconographic symbolism is celebrated. This tradition has been continued by Sri Lankan diaspora.Outside Hinduism The Tantric Buddhist Vajrayana traditions adopted several Hindu deities into its fold, including Durga. Numerous depictions of Durga Mahisasuramardhini (Durga slaying the buffalo demon) have been found at Buddhist temple sites in Afghanistan, Indonesia and northeastern India. Durga statues have also been found in major Buddhist sites like Nalanda and Vikramashila.

                In Bengal, late Indian Mahayana Buddhists during the 17th century worshiped Durga during traditional Yogini Puja celebrations, and some traces of these Mahayana Durga rites survive today, even though the Bengalis who perform Durga also appears in the Sarvadurgatipariśodhana tantra, though in this text, she appears not in her demon slaying form, but mounted on a lion.Several aspects of the popular Vajrayana Buddhist goddess Tārā are believed to have originated as a form of the goddess Durga or to have been influenced by Hindu stories of Durga, including Tara's fierce forms. One form of Tara is even called Durgottara- tara who specializes in saving devotees from evil and rides a lion mount, the traditional mount of Durga.Durgottarini appears in the Sadhanamala.

In Nepalese Buddhism, the Buddhist tantric goddess Vajrayogini is "often worshiped interchangeably with Durga" during Durga festivals.Newar Buddhists also worship Durgottarini -tara during some of their Prajnaparamita rituals.In Japanese Buddhism, the deity Cundi,, also known as Butsu-mo , shares many features with Durga, and some scholars have the two deities as related. However, as Gimello notes, they are not the same deity, though they are often confused.Likewise, in Tibetan Buddhism, the goddess Palden Lhamo also has similar features to the protective and fierce Durga.

In Jainism: The Sacciya mata found in major medieval era Jain temples mirrors Durga, and she has been identified by Jainism scholars to be the same or sharing a more ancient common lineage.In the Ellora Caves, the Jain temples feature Durga with her lion mount. However, she is not shown as killing the buffalo demon in the Jain cave, but she is presented as a peaceful deity.

In Sikhism:Durga is exalted as the divine in Dasam Granth, a sacred text of Sikhism that is traditionally attributed to Guru Gobind Singh.According to Eleanor Nesbitt, this view has been challenged by Sikhs who consider Sikhism to be monotheistic, who hold that a feminine form of the Supreme and a reverence for the Goddess is unmistakably of Hindu character.

Outside the Indian subcontinent: Archeological site excavations in Indonesia, particularly on the island of Java, have yielded numerous statues of Durga. These have been dated to be from the 6th century onwards.Of the numerous early to mid medieval era Hindu deity stone statues uncovered on Indonesian islands, at least 135 statues are of Durga. In parts of Java, she is known as Loro Jonggrang literally, "slender maiden".In Cambodia, during its era of Hindu kings, Durga was popular and numerous sculptures of her have been found. However, most differ from the Indian representation in one detail. The Cambodian Durga iconography shows her standing on top of the cut buffalo demon head.Durga statues have been discovered at stone temples and archaeological sites in Vietnam, likely related to Champa or Cham dynasty era.

influence: Durga as the mother goddess is the inspiration behind the song Vande Mataram, written by Bankim Chandra Chatterjee, during the Indian independence movement, later the official national song of India. Durga is present in Indian nationalism where Bharat Mata i.e. Mother India is viewed as a form of Durga. This is completely secular and keeping in line with the ancient ideology of Durga as Mother and protector to Indians. She is present in pop culture and blockbuster Bollywood movies like Jai Santoshi Maa. The Indian Army uses Hindustani phrases like "Durga Mata ki Jai!" and "Kaali Mata ki Jai!". Any woman who takes up a cause to fight for goodness and justice is said to have the spirit of Durga in her.