Lakshmi:
Lakshmi (/ˈlʌkʃmi/;[nb] Sanskrit: लक्ष्मी, IAST: Laksmi, sometimes spelled Laxmi, lit. 'she who leads to one's goal') also known as Shri (Sanskrit: श्री, IAST: Sri, lit. 'Noble'), is one of the principal goddesses in Hinduism. She is the goddess of wealth, fortune, power, beauty, fertility and prosperity, and associated with Maya ("Illusion"). Along with Parvati and Saraswati, she forms the Tridevi of Hindu goddesses.
Within the goddess-oriented Shaktism, Lakshmi is venerated as the prosperity aspect of the Mother goddess.Lakshmi is both the consort and the divine energy (shakti) of the Hindu god Vishnu, the Supreme Being of Vaishnavism; she is also the Supreme Goddess in the sect and assists Vishnu to create, protect, and transform the universe. She is an especially prominent figure in Sri Vaishnavism, in which devotion to Lakshmi is deemed to be crucial to reach Vishnu. Whenever Vishnu descended on the earth as an avatar, Lakshmi accompanied him as consort, for example, as Sita and Radha or Rukmini as consorts of Vishnu's avatars Rama and Krishna, respectively. The eight prominent manifestations of Lakshmi, the Ashtalakshmi, symbolise the eight sources of wealth.
Lakshmi is depicted in Indian art as an elegantly dressed, prosperity-showering golden-coloured woman standing or sitting in the padmasana position upon a lotus throne, while holding a lotus in her hand, symbolising fortune, self-knowledge, and spiritual liberation.Her iconography shows her with four hands, which represent the four aspects of human life important to Hindu culture: dharma, kama, artha, and moksha.The Lakshmi Sahasranama of the Skanda Purana, Lakshmi Tantra, Markandeya Purana, Devi Mahatmya, and Vedic scriptures describe Lakshmi as having eight or eighteen hands, and as sitting on Garuda, a lion, or a tiger. According to the Lakshmi Tantra, the goddess Lakshmi, in her ultimate form of Mahasri, has four arms of a golden complexion, and holds a citron, a club, a shield, and a vessel containing amrita. In the Skanda Purana and the Venkatachala Mahatmayam, Sri, or Lakshmi, is praised as the mother of Brahma.
Archaeological discoveries and ancient coins suggest the recognition and reverence for Lakshmi existing by the 1st millennium BCE. Lakshmi's iconography and statues have also been found in Hindu temples throughout Southeast Asia, estimated to be from the second half of the 1st millennium CE. The day of Lakshmi Puja during Navaratri, and the festivals of Deepavali and Sharad Purnima (Kojagiri Purnima) are celebrated in her honour.
Etymology and epithets
A painting of Lakshmi on the inner walls of the Tanjore Big temple.
Lakshmi in Sanskrit is derived from the root word lakṣ (लक्ष्) and lakṣa (लक्ष), meaning 'to perceive, observe, know, understand' and 'goal, aim, objective', respectively. These roots give Lakshmi the symbolism: know and understand your goal. A related term is lakṣaṇa, which means 'sign, target, aim, symbol, attribute, quality, lucky mark, auspicious opportunity'.
Gaja Lakshmi, Cambodia,
Lakshmi has numerous epithets and numerous ancient Stotram and Sutras of Hinduism recite her various names: such as Sri (Radiance, eminence, splendor, wealth), Padma (she who is mounted upon or dwelling in a lotus or She of the lotus), Kamala or Kamalatmika (She of the lotus), Padmapriya (Lotus-lover), Padmamaladhara Devi (Goddess bearing a garland of lotuses), Padmamukhi (Lotus-faced-she whose face is as like as a lotus), Padmaksi: (Lotus-eyed - she whose eyes are as beautiful as a lotus), Padmahasta: (Lotus-hand - she whose hand is holding [a] lotus[es]), Padmasundarī (She who is as beautiful as a lotus), Padmavati (She who was born from a lotus), Srija (Jatika of Sri), Narayani (belonging to Narayana or the wife of Narayana), Vaishnavi (worshipper of Vishnu or the power of Vishnu), VishnuPriya (who is the beloved of Vishnu), Nandika (the one who gives pleasure). Shaktas also consider Lalita, who is praised with 1,000 names in the Lalita Sahasranama, as Lakshmi.
Lakshmi Sahasranama of Skanda Purana praises Lakshmi as Mahadevi (she who is the great goddess), Mahamaya (she who is a great illusion), Karaveera Nivasini (The Goddess Who lives in Karaveera/Kolhapur) and Maha Astha Dasa Pithagne (she who has 18 great Shakti Peethas). She is also praised as Mahalakshmi (she who is great Lakshmi), Mahakali (she who is great Kali) and Mahasaraswati (she who is great Saraswati) who are the primary deities in Devi Mahatmya. The other prominent names included in this text are, Bhuvaneshvari (she who is the Queen or ruler of the Universe), Katyayani (she who is the daughter of sage Katyayana), Kaushiki (Shakti that came out of the sheath (or Kosha) of Parvati), Brahmani (She who is the power of Brahma), Kamakshi (she who fulfils desires by her eyes), Chandi (she who killed Mahishasura), Chamunda (She who killed Chanda and Munda), Madhu Kaidabha Bhanjini (she who killed Madhu and Kaidabha), Durga (she who killed Durgamasura), Maheshvari (she who is the power of Maheshvara), Varahi (she who is the power of Varaha, a form of Vishnu), Narasimhi (she who is the power of Narasimha, a form of Vishnu), Srividyaa (she who is Sri Vidya), Sri Manthra Raja Rajini (the queen of Sri Vidya), Shadadharadhi devata (she who is the goddess of the six chakras).
Dutch author Dirk van der Plas says, "In Lakshmi Tantra, a text of Visnuite signature, the name Mahamaya is connected with third or destructive of Goddess' three partial functions, while in supreme form she is identified with Lakshmi". Her other names include: Aishwarya, Akhila, Anagha, Anapagamini, Anumati, Apara, Aruna, Atibha, Avashya, Bala, Bhargavi, Bhudevi, Chakrika, Chanchala, Chandravadana, Chandrasahodari, Chandraroopa, Devi, Deepta, Dhruti, Haripriya, Harini, Harivallabha, Hemamalini, Hiranyavarna, Indira, Jalaja, Jambhavati, Janaki, Janamodini, Jyoti, Jyotsna, Kalyani, Kamalika, Ketaki, Kriyalakshmi, Kshirsha, Kuhu, Lalima, Madhavi, Madhu, Malti, Manushri, Nandika, Nandini, Nikhila, Nila Devi, Nimeshika, Padmavati, Parama, Prachi, Purnima, Radha, Ramaa, Rukmini, Samruddhi, Samudra Tanaya, Satyabhama, Shraddha, Shreeya, Sita, Smriti, Sridevi, Sudha, Sujata, Swarna Kamala, Taruni, Tilottama, Tulasi, Vasuda, Vasudhara, Vasundhara, Varada, Varalakshmi, Vedavati, Vidya, Vimala, and Viroopa.
Symbolism and iconography Bas relief of GajaLakshmi at the Buddhist Sanchi Stupa, Stupa I, North gateway, Satavahana dynasty sculpture, 1st century CE. Lakshmi is a member of the Tridevi, the triad of great goddesses. She represents the Rajas guna, and the Iccha-shakti. The image, icons, and sculptures of Lakshmi are represented with symbolism. Her name is derived from Sanskrit root words for knowing the goal and understanding the objective. Her four arms are symbolic of the four goals of humanity that are considered good in Hinduism: dharma (pursuit of ethical, moral life), artha (pursuit of wealth, means of life), kama (pursuit of love, emotional fulfillment), and moksha (pursuit of self-knowledge, liberation).
In Lakshmi's iconography, she is either sitting or standing on a lotus and typically carrying a lotus in one or two hands. The lotus carries symbolic meanings in Hinduism and other Indian traditions. It symbolizes knowledge, self-realization, and liberation in the Vedic context, and represents reality, consciousness, and karma ('work, deed') in the Tantra (Sahasrara) context. The lotus, a flower that blooms in clean or dirty water, also symbolises purity regardless of the good or bad circumstances in which it grows. It is a reminder that good and prosperity can bloom and not be affected by evil in one's surroundings.
Lakshmi Sahasranama of Skanda Purana, Lakshmi Tantra, Markandeya Purana, Devi Mahatmya and Vedic scriptures describes Lakshmi as having eighteen hands and is described as holding rosary, axe, mace, arrow, thunderbolt, lotus, pitcher, rod, sakti, sword, shield, conch, bell, wine-cup, trident, noose and the discus in her eighteen hands.
Below, behind, or on the sides, Lakshmi is very often shown with one or two elephants, known as Gajalakshmi, and occasionally with an owl. Elephants symbolise work, activity, and strength, as well as water, rain and fertility for abundant prosperity. The owl signifies the patient striving to observe, see, and discover knowledge, particularly when surrounded by darkness. As a bird reputedly blinded by daylight, the owl also serves as a symbolic reminder to refrain from blindness and greed after knowledge and wealth have been acquired. According to historian D. D. Kosambi, most of the Imperial Gupta kings were Vaishnavas and held the goddess Lakshmi in the highest esteem. Goddess Lakshmi is Simhavahini (mount as lion) on most of the coins during their rule. Coins during the rule of Prakashadiya, a Gupta ruler, contain the Garudadhvaja on the obverse and Lakshmi on the reverse. The Gupta period sculpture only used to associate lions with Lakshmi but was later attributed to Durga or a combined form of both goddesses. Lions are also associated with Veera Lakshmi, who is one of the Ashtalakshmi. Historian B. C. Bhattacharya says, "An image of Gajalakshmi is found with two lions — one on either side of her. Two elephants are also shown near her head and by this we can say that Lion is also the vahana of Lakshmi along with Garuda".
In some representations, wealth either symbolically pours out from one of her hands or she simply holds a jar of money. This symbolism has a dual meaning: wealth manifested through Lakshmi means both materials as well as spiritual wealth.Her face and open hands are in a mudra that signifies compassion, giving or dana ('charity'). Lord Vishnu with his head on the lap of the Goddess Andal
Lakshmi typically wears a red dress embroidered with golden threads, which symbolizes fortune and wealth. She, goddess of wealth and prosperity, is often represented with her husband Vishnu, the god who maintains human life filled with justice and peace. This symbolism implies wealth and prosperity are coupled with the maintenance of life, justice, and peace.When Lakshmi and Vishnu appear together in images and statues, she is significantly smaller, which is often used to portray her devotional status as a wife. A frequently depicted scene of the pair illustrates Lakshmi massaging Vishnu's feet.
In Atharva Veda, transcribed about 1000 BCE, Lakshmi evolves into a complex concept with plural manifestations. Book 7, Chapter 115 of Atharva Veda describes the plurality, asserting that a hundred Lakshmis are born with the body of a mortal at birth, some good, Punya ('virtuous') and auspicious, while others bad, paapi ('evil') and unfortunate. The good are welcomed, while the bad urged to leave. The concept and spirit of Lakshmi and her association with fortune and the good is significant enough that Atharva Veda mentions it in multiple books: for example, in Book 12, Chapter 5 as Punya Lakshmi. In some chapters of Atharva Veda, Lakshmi connotes the good, an auspicious sign, good luck, good fortune, prosperity, success, and happiness.
Later, Lakshmi is referred to as the goddess of fortune, identified with Sri and regarded as the wife of Viṣṇu (Narayana). For example, in Shatapatha Brahmana, variously estimated to be composed between 800 BCE and 300 BCE, Sri (Lakshmi) is part of one of many theories, in ancient India, about the creation of the universe. In Book 9 of Shatapatha Brahmana, Sri emerges from Prajapati, after his intense meditation on the creation of life and nature of the universe. Sri is described as a resplendent and trembling woman at her birth with immense energy and powers. The gods are bewitched, desire her, and immediately become covetous of her. The gods approach Prajapati and request permission to kill her and then take her powers, talents, and gifts. Prajapati refuses, tells the gods that men should not kill women and that they can seek her gifts without violence. The gods then approach Lakshmi. Agni gets food, Soma gets kingly authority, Varuna gets imperial authority, Mitra acquires martial energy, Indra gets force, Brihaspati gets priestly authority, Savitri acquires dominion, Pushan gets splendour, Saraswati takes nourishment and Tvashtri gets forms. The hymns of Shatapatha Brahmana thus describe Sri as a goddess born with and personifying a diverse range of talents and powers.
According to another legend, she emerges during the creation of universe, floating over the water on the expanded petals of a lotus flower; she is also variously regarded as wife of Dharma, mother of Kāma, sister or mother of Dhātṛ and Vidhātṛ, wife of Dattatreya, one of the nine Shaktis of Viṣṇu, a manifestation of Prakṛti as identified with Dākshāyaṇī in Bharatasrama and as Sita, wife of Rama.
Epics
In the Epics of Hinduism, such as in Mahabharata, Lakshmi personifies wealth, riches, happiness, loveliness, grace, charm, and splendor. In another Hindu legend about the creation of the universe as described in Ramayana, Lakshmi springs with other precious things from the foam of the ocean of milk when it is churned by the gods and demons for the recovery of Amrta. She appeared with a lotus in her hand and so she is also called Padma.
Sita, the female protagonist of the Ramayana and her husband, the god-king Rama are considered as avatars of Lakshmi and Vishnu, respectively. In the Mahabharata, Draupadi is described as a partial incarnation of Sri (Lakshmi).However, other chapter of the epic states that Lakshmi took the incarnation of Rukmini, the chief-wife of the Hindu god Krishna. panishads
Shakta Upanishads are dedicated to the Tridevi of goddesses—Lakshmi, Saraswati and Parvati. Saubhagyalakshmi Upanishad describes the qualities, characteristics, and powers of Lakshmi.In the second part of the Upanishad, the emphasis shifts to the use of yoga and transcendence from material craving to achieve spiritual knowledge and self-realization, the true wealth. Saubhagya-Lakshmi Upanishad synonymously uses Sri to describe Lakshmi.
Stotram and sutras Numerous ancient Stotram and Sutras of Hinduism recite hymns dedicated to Lakshmi. She is a major goddess in Puranas and Itihasa of Hinduism. In ancient scriptures of India, all women are declared to be embodiments of Lakshmi. For
Puranas: Lakshmi features prominently in Puranas of Hinduism. Vishnu Purana, in particular, dedicates many sections to her and also refers to her as Sri. J. A. B. van Buitenen translates passages describing Lakshmi in Vishnu Purana: Sri, loyal to Vishnu, is the mother of the world. Vishnu is the meaning, Sri is the speech. She is the conduct, he the behavior. Vishnu is knowledge, she the insight. He is dharma, she the virtuous action. She is the earth, the earth's upholder. She is contentment, he the satisfaction. She wishes, he is the desire. Sri is the sky, Vishnu the Self of everything. He is the Sun, she the light of the Sun. He is the ocean, she is the shore. Subhasita, genomic and didactic literature
Lakshmi, along with Parvati and Saraswati, is a subject of extensive Subhashita, genomic and didactic literature of India. Composed in the 1st millennium BCE through the 16th century CE, they are short poems, proverbs, couplets, or aphorisms in Sanskrit written in a precise meter. They sometimes take the form of a dialogue between Lakshmi and Vishnu or highlight the spiritual message in Vedas and ethical maxims from Hindu Epics through Lakshmi. An example Subhashita is Puranartha Samgraha, compiled by Vekataraya in South India, where Lakshmi and Vishnu discuss niti ('right, moral conduct') and rajaniti ('statesmanship' or 'right governance')—covering in 30 chapters and ethical and moral questions about personal, social and political life.
Manifestations and aspects
Sculpture of Lord Vishnu and Goddess Lakshmi at Hoysaleswara Temple at Halebidu
Inside temples, Lakshmi is often shown together with Vishnu. In certain parts of India, Lakshmi plays a special role as the mediator between her husband Vishnu and his worldly devotees. When asking Vishnu for grace or forgiveness, the devotees often approach him through the intermediary presence of Lakshmi. She is also the personification of spiritual fulfillment. Lakshmi embodies the spiritual world, also known as Vaikuntha, the abode of Lakshmi and Vishnu (collectively called Lakshmi Narayana). Lakshmi is the embodiment of the creative energy of Vishnu, and primordial Prakriti who creates the universe.
An early 20th-century painting depicting Vishnu resting on Ananta-Shesha, with Lakshmi massaging his feet.
According to Garuda Purana, Lakshmi is considered as Prakriti (Mahalakshmi) and is identified with three forms — Sri, Bhu and Durga. The three forms consists of Satva ('goodness'), rajas, and tamas ('darkness') gunas, and assists Vishnu (Purusha) in creation, preservation and destruction of the entire universe. Durga form represents the power to fight, conquer and punish the demons and anti-gods. Part of a series on Shaktism in the Lakshmi Tantra and Lakshmi Sahasranama of Skanda Purana, Lakshmi is given the status of the primordial goddess. According to these texts, Durga and the forms such Mahalakshmi, Mahakali and Mahasaraswati and all the Shaktis that came out of all gods such as Matrikas and Mahavidya are all various forms of Goddess Lakshmi. In Lakshmi Tantra, Lakshmi says to Indra that she got the name Durga after killing an asura named Durgama. Indologists and authors Chitralekha Singh and Prem Nath says, "Narada Purana describes the powerful forms of Lakshmi as Durga, Mahakali, Bhadrakali, Chandi, Maheshwari, Mahalakshmi, Vaishnavi and Andreye".
Lakshmi, Saraswati, and Parvati are typically conceptualized as distinct in most of India, but in states such as West Bengal and Odisha, they are regionally believed to be forms of Durga. In Hindu Bengali culture, Lakshmi, along with Saraswati, are seen as the daughters of Durga. They are worshipped during Durga Puja.
In South India, Lakshmi is seen in two forms, Sridevi and Bhudevi, both at the sides of Venkateshwara, a form of Vishnu. Bhudevi is the representation and totality of the material world or energy, called the Apara Prakriti, or Mother Earth; Sridevi is the spiritual world or energy called the Prakriti. According to Lakshmi Tantra, Nila Devi, one of the manifestations or incarnations of Lakshmi is the third wife of Vishnu. Each goddess of the triad is mentioned in Śrī Sūkta, Bhu Sukta and Nila Sukta, respectively. This threefold goddess can be found, for example, in Sri Bhu Neela Sahita Temple near Dwaraka Tirumala, Andhra Pradesh, and in Adinath Swami Temple in Tamil Nadu.In many parts of the region, Andal is considered as an incarnation of Lakshmi.
Ashtalakshmi - Eight forms of Lakshmi
Devas (gods) and asuras (demons) were both mortal at one time in Hinduism. Amrita, the divine nectar that grants immortality, could only be obtained by churning Kshira Sagara ('Ocean of Milk'). The devas and asuras both sought immortality and decided to churn the Kshira Sagara with Mount Mandhara. The Samudra Manthana commenced with the devas on one side and the asuras on the other. Vishnu incarnated as Kurma, the tortoise, and a mountain was placed on the tortoise as a churning pole. Vasuki, the great venom-spewing serpent-god, was wrapped around the mountain and used to churn the ocean. A host of divine celestial objects came up during the churning. Along with them emerged the goddess Lakshmi. In some versions, she is said to be the daughter of the sea god since she emerged from the sea.
In Garuda Purana, Linga Purana and Padma Purana, Lakshmi is said to have been born as the daughter of the divine sage Bhrigu and his wife Khyati and was named Bhargavi. According to Vishnu Purana, the universe was created when the devas and asuras churned the cosmic Kshira Sagara. Lakshmi came out of the ocean bearing lotus, along with divine cow Kamadhenu, Varuni, Parijat tree, Apsaras, Chandra (the moon), and Dhanvantari with Amrita ('nectar of immortality'). When she appeared, she had a choice to go to Devas or Asuras. She chose Devas' side and among thirty deities, she chose to be with Vishnu. Thereafter, in all three worlds, the lotus-bearing goddess was celebrated.
Worship
Many Hindus worship Lakshmi on Deepavali (Diwali), the festival of lights. It is celebrated in autumn, typically October or November every year. The festival spiritually signifies the victory of light over darkness, knowledge over ignorance, good over evil and hope over despair. Deepavali celebrations include puja (prayers) to Lakshmi and Ganesha. Lakshmi is of the Vaishnavism tradition, while Ganesha of the Shaivism tradition of Hinduism. Before Deepavali night, people clean, renovate and decorate their homes and offices. On Deepavali night, Hindus dress up in new clothes or their best outfits, light up diyas (lamps and candles) inside and outside their home, and participate in family puja (prayers) typically to Lakshmi. After the Lakshmi Puja, fireworks follow, then a family feast including mithai (sweets), and an exchange of gifts between family members and close friends. Deepavali also marks a major shopping period, since Lakshmi connotes auspiciousness, wealth and prosperity. This festival dedicated to Lakshmi is considered by Hindus to be one of the most important and joyous festivals of the year.
A very sacred day for the worship of Goddess Lakshmi falls on Chaitra Shukla Panchami, also called, Lakshmi Panchami, Shri Panchami, Kalpadi and Shri Vrata. As this worship is in the first week of the Hindu new year, by Hindu calendar, it is considered very auspicious. Varalakshmi Vratam is celebrated by married Hindu women to pray for the well-being of their husbands. Gaja Lakshmi Puja is another autumn festival celebrated on Sharad Purnima in many parts of India on the full-moon day in the month of Ashvin (October). Sharad Purnima, also called Kojaagari Purnima or Kuanr Purnima, is a harvest festival marking the end of monsoon season. There is a traditional celebration of the moon called the Kaumudi celebration, Kaumudi meaning moonlight. On Sharad Purnima night, goddess Lakshmi is thanked and worshipped for the harvests. Vaibhav Lakshmi Vrata is observed on Friday for prosperity.
Temples
Lakshmi Devi idol in Sanctum of temple at Doddagaddavalli, in Hassan District, Karnataka India.
Self emerged idol of goddess Lakshmi with Srinivasa in Kallur Mahalakshmi temple [Second Kolhapur]
Mahalaxmi temple Sulebhavi., Local form of goddess lakshmi
Some temples dedicated to Goddess Lakshmi are:
Agroha Dham
Ashtalakshmi Temple, Chennai
Azhagiya Manavala Perumal Temple
Bhagyalakshmi Temple, Hyderabad
Chottanikkara Temple, Kerala
108 Divya Desams
Golden Temple, Sripuram
Goravanahalli Mahalakshmi Temple
Lakshmi Devi Temple, Doddagaddavalli
Lakshmi Narasimha Temple, Nuggehalli
Lakshminarayana Temple, Hosaholalu
Lakshmi Temple, Khajuraho
Laxminarayan Temple, Delhi
Mahalakshmi Kollapuradamma Temple,Ratnagiri
Mahalakshmi Temple, Dahanu
Mahalakshmi Temple, Kolhapur
Mahalakshmi Temple, Mumbai
Mookambika Temple, Kollur
Nachiyar Koil [As Vanchulavalli thayar]
Thirunarayur Nambi Temple
Narasimhaswamy Temple, Namakkal
Narasimhaswamy Temple, Namakkal [As Nammagiri Thayar]
Pundarikakshan Perumal Temple
Sri Kanaka Maha Lakshmi Temple, Andhra Pradesh
Mahalakshmi Temple Kallur [Second Kolhapur]
Goravanahalli Mahalakshmi Temple
Sri Lakshmi Kuberar Temple,Rathinamangalam
Mahalaksmi temple Bandora, Panaji
Mahalakshmi temple Ucchila
Mahalakshmi Mandir, Pune
Kanakadhara Mahalakshmi Temple,Punnorkode, Pazhamthottam
Pundarikakshan Perumal Temple
Narasimhaswamy Temple, Namakkal
Lakshmi Temple, Khajuraho
Mahalakshmi Kollapuradamma Temple,Ratnagiri
Shree Lakshmi Chandrala Parameshwari Temple, Karnataka
Mahalakshmi temple Sulebhavi Belgaum
Sweta Lakshmi Varahi Temple, Telanagana
Astabhuja mahalakshmi temple Haldwani
Shri Kollapuradamma Sri Mahalakshmi temple, Chitradurga
London Sri Mahalakshmi Temple
Mahalakshmi temple Delaware, United States
* Narasimhaswamy Temple, Namakkal [As Nammagiri Thayar] Lakshmi lustrated by elephants, Uttar Pradesh, Kausambi, 1st century BCE.
Numerous hymns, prayers, shlokas, stotra, songs, and legends dedicated to Lakshmi are recited during the ritual worship of the goddess. These include:
Sri Mahalakshmi Ashtakam
Sri Lakshmi Sahasaranama Stotra (by Sanat Kumara)
Sri Stuti (by Vedanta Desika)
Lakshmi Stuti (by Indra)
Kanakadhara Stotram (by Adi Shankara)
Chatuh Shloki (by Yamunacharya)
Sri Lakshmi Sloka (by Bhagavan Hari Swamiji)
Sri Sukta, which is contained in the Vedas and includes the Lakshmi Gayatri Mantra (Om Sri Mahalakshmyai ca vidmahe Vishnu patnyai ca dhimahi tanno Lakshmi prachodayat, Om)
Lakshmi Gayatri mantra mentioned in the Linga Purana (48.13) - (Samudratayai vidmahe Vishnunaikena dhimahi tanno Radha prachodayat)
Ashtalakshmi Stotram (by U.V. Srinivasa Varadachariyar)
Archaeology
Greek-influenced statue of Gaja Lakshmi, holding lotus and cornucopia, flanked by two elephants and two lions. From Kashmir, 6th century CE.
A representation of the goddess as Gaja Lakshmi or Lakshmi flanked by two elephants spraying her with water, is one of the most frequently found in archaeological sites. An ancient sculpture of Gaja Lakshmi (from Sonkh site at Mathura) dates to the pre-Kushan Empire era. Atranjikhera site in modern Uttar Pradesh has yielded terracotta plaque with images of Lakshmi dating to the 2nd century BCE. Other archaeological sites with ancient Lakshmi terracotta figurines from the 1st millennium BCE include Vaisali, Sravasti, Kausambi, Campa, and Candraketugadh.
The goddess Lakshmi is frequently found in ancient coins of various Hindu kingdoms from Afghanistan to India. Gaja Lakshmi has been found on coins of Scytho-Parthian kings Azes II and Azilises; she also appears on Shunga Empire king Jyesthamitra era coins, both dating to 1st millennium BCE. Coins from 1st through 4th century CE found in various locations in India such as Ayodhya, Mathura, Ujjain, Sanchi, Bodh Gaya, Kanauj, all feature Lakshmi. Similarly, ancient Greco-Indian gems and seals with images of Lakshmi have been found, estimated to be from 1st-millennium BCE.
A 1400-year-old rare granite sculpture of Lakshmi has been recovered at the Waghama village along Jehlum in Anantnag district of Jammu and Kashmir. The Pompeii Lakshmi, a statuette supposedly thought to be of Lakshmi found in Pompeii, Italy, dates to before the eruption of Vesuvius in 79 CE. Outside Hinduism Jainism Gaja Lakshmi at Shravanabelagola Temple, Karnataka.
Lakshmi is also an important deity in Jainism and found in Jain temples.Some Jain temples also depict Sri Lakshmi as a goddess of artha ('wealth') and kama ('pleasure'). For example, she is exhibited with Vishnu in Parshvanatha Jain Temple at the Khajuraho Monuments of Madhya Pradesh, where she is shown pressed against Vishnu's chest, while Vishnu cups a breast in his palm. The presence of Vishnu-Lakshmi iconography in a Jain temple built near the Hindu temples of Khajuraho, suggests the sharing and acceptance of Lakshmi across a spectrum of Indian religions.This commonality is reflected in the praise of Lakshmi found in the Jain text Kalpa Sūtra.
Buddhism The Japanese Kishijoten is adapted from Lakshmi.
In Buddhism, Lakshmi has been viewed as a goddess of abundance and fortune, and is represented on the oldest surviving stupas and cave temples of Buddhism. In Buddhist sects of Tibet, Nepal, and Southeast Asia, Vasudhara mirrors the characteristics and attributes of the Hindu Goddess, with minor iconographic differences.
In Chinese Buddhism, Lakshmi is referred to as either Gongdetian (功德天, lit "Meritorious god" ) or Jíxiáng Tiannu(吉祥天女, lit "Auspicious goddess") and is the goddess of fortune and prosperity. She is regarded as the sister of Píshāméntiān (毗沙門天), or Vaiśravaṇa, one of the Four Heavenly Kings. She is also regarded as one of the twenty-four protective deities, and her image is frequently enshrined in the Mahavira Hall of most Chinese Buddhist monasteries together with the other deities. Her mantra, the Sri Devi Dharani (Chinese: 大吉祥天女咒; pinyin: Da Jixiang Tiannu Zhou) is classified as one of the Ten Small Mantras (Chinese: 十小咒; pinyin: Shí xiǎo zhòu), which are a collection of dharanis that are commonly recited in Chinese Buddhist temples during morning liturgical services. The Dharani is as follows:
Namo buddhaya, Namo dharmaya, Namah samghaya, Namah Sri Mahadeviye, Tadyatha Om paripurana care samanta darsane. Maha vihara gate samanta vidhamane. Maha karya pratisthapane, sarvartha sadhane, supratipuri ayatna dharmata. Maha vikurvite, maha maitri upasamhite, maharşi susamgŗhīte samantartha anupalane svaha. In Japanese Buddhism, Lakshmi is known as Kishijoten , 'Auspicious Heavens') and is also the goddess of fortune and prosperity. Like in China, Kishijoten is considered the sister of Bishamon , also known as Tamon or Bishamon-ten), who protects human life, fights evil, and brings good fortune. In ancient and medieval Japan, Kishijoten was the goddess worshiped for luck and prosperity, particularly on behalf of children. Kishijoten was also the guardian goddess of Geishas.
In Tibetan Buddhism, Lakshmi is an important deity, especially in the Gelug School. She has both peaceful and wrathful forms; the latter form is known as Palden Lhamo, Shri Devi Dudsol Dokam, or Kamadhatvishvari, and is the principal female protector of (Gelug) Tibetan Buddhism and of Lhasa, Tibet.[citation needed While Lakshmi and Vaisravaṇa are found in ancient Chinese and Japanese Buddhist literature, their roots have been traced to deities in Hinduism. manLakshmi is closely linked to Dewi Sri, who is worshipped in Bali as the goddess of fertility and agriculture. Incarnations
Chamunda:
Chamunda (Sanskrit: चामुण्डा, IAST: Camunda), also known as Chamundeshwari, Chamundi or Charchika, is a fearsome form of Chandi, the Hindu mother goddess, aka Shakti and is one of the seven Matrikas. She is also one of the chief Yoginis, a group of sixty-four or eighty-one Tantric goddesses, who are attendants of the warrior goddess Parvati. The name is a combination of Chanda and Munda, two monsters whom Chamunda killed. She is closely associated with Kali, another fierce aspect of Parvati. She is identified with goddesses Parvati, Kali or Durga.
The goddess is often portrayed as residing in cremation grounds or near holy fig trees. The goddess is worshipped by ritual animal sacrifices along with offerings of wine. The practice of animal sacrifices has become less common with Vaishnavite influences.
Origins : Ramakrishna Gopal Bhandarkar says that Chamunda was originally a tribal goddess, worshipped by the tribals of the Vindhya mountains in central India. These tribes were known to offer goddesses animal as well as human sacrifices along with liquor. These methods of worship were retained in Tantric worship of Chamunda, after its assimilation into mainstream Hinduism. He proposes the fierce nature of this goddess is due to her association with Rudra (Shiva), identified with the fire god Agni at times. Wangu also backs the theory of the tribal origins of the goddess.
Iconography: The black- or red-coloured Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). She is described as having four, eight, ten or twelve arms, holding a Damaru (drum), trishula (trident), sword, snake, skull-mace (khatvanga), thunderbolt, a severed head and panapatra (drinking vessel) or skull-cup (kapala), filled with blood. She stands or sits upon the corpse of a man (shava or preta), a defeated demon or corpse. She is adorned with bones, skulls, and serpents. She also wears a Yajnopavita (sacred thread) of skulls. She wears a jata mukuta, that is, a headdress formed of piled, matted hair tied together with snakes or skull ornaments. Sometimes, a crescent moon is seen on her head. Her eye sockets are described as burning the world with flames. She is accompanied by evil spirits. She is also shown to be surrounded by skeletons, ghosts and beasts like jackals, who are shown eating the flesh of the corpse the goddess sits or stands on.
The jackals and her fearsome companions are sometimes depicted as drinking blood from her skull-cup or the severed head she is holding, implying that Chamunda drinks the blood of the defeated enemies. This quality of drinking blood is a characteristic of all Matrikas, and Chamunda in particular. At times, she is depicted seated on an owl, her vahana (mount or vehicle), or a buffalo or Dhole. Her banner figures an eagleThese characteristics, a contrast to the typical depictions of Hindu goddesses with full breasts and beautiful faces, symbolise the inevitability of old age, death, decay and destruction. Chamunda is often seen as a form of Kali. She appears as a frightening old woman, projecting fear and horror.
Legends: In Hindu scripture Devi Mahatmya, Chamunda emerged as Chandika Jayasundara from an eyebrow of goddess Kaushiki, a goddess created from "sheath" of Durga and was assigned the task of eliminating the demons Chanda and Munda, generals of demon kings Shumbha-Nishumbha. She fought a fierce battle with the demons, ultimately killing them.According to a later episode of the Devi Mahatmya, Durga created Matrikas from herself and with their help slaughtered the demon army of Shumbha-Nishumbha. In this version, Kali is described as a Matrika who sucked all the blood of the demon Raktabija, from whose blood drop rose another demon. Kali is given the epithet Chamunda in the text. Thus, the Devi Mahatmya identifies Chamunda with Kali.
In the Varaha Purana, the story of Raktabija is retold, but here each of Matrikas appears from the body of another Matrika.
Chamunda appears from the foot of the lion-headed goddess Narasimhi. Here, Chamunda is considered a representation of the vice of tale-telling (pasunya). The Varaha Purana text clearly mentions two separate goddesses Chamunda and Kali, unlike Devi Mahatmya. According to another legend, Chamunda appeared from the frown of the benign goddess Parvati to kill demons Chanda and Munda. Here, Chamunda is viewed as a form of Parvati. The Matsya Purana tells a different story of Chamunda's origins. She with other matrikas was created by Shiva to help him kill the demon Andhakasura, who has an ability - like Raktabija - to generate from his dripping blood. Chamunda with the other matrikas drinks the blood of the demon ultimately helping Shiva kill him.Ratnakara, in his text Haravijaya, also describes this feat of Chamunda, but solely credits Chamunda, not the other matrikas of sipping the blood of Andhaka.
Having drunk the blood, Chamunda's complexion changed to blood-red. The text further says that Chamunda does a dance of destruction, playing a musical instrument whose shaft is Mount Meru, the string is the cosmic snake Shesha and gourd is the crescent moon. She plays the instrument during the deluge that drowns the world. Association with Matrikas: Chamunda is one of the saptamatrikas or Seven Mothers. The Matrikas are fearsome mother goddesses, abductors and eaters of children; that is, they were emblematic of childhood pestilence, fever, starvation, and disease. They were propitiated in order to avoid those ills, that carried off so many children before they reached adulthood. Chamunda is included in the Saptamatrika (seven Matrikas or mothers) lists in the Hindu texts like the Mahabharata (Chapter 'Vana-parva'), the Devi Purana and the Vishnudharmottara Purana.
She is often depicted in the Saptamatrika group in sculptures, examples of which are Ellora and Elephanta caves. Though she is always portrayed last (rightmost) in the group, she is sometimes referred to as the leader of the group.While other Matrikas are considered as Shaktis (powers) of male divinities and resemble them in their appearance, Chamunda is the only Matrika who is a Shakti of the great Goddess Devi rather than a male god. She is also the only Matrika who enjoys independent worship of her own; all other Matrikas are always worshipped together.
The Devi Purana describe a pentad of Matrikas who help Ganesha to kill demons. Further, sage Mandavya is described as worshipping the Maṭrpaňcaka (the five mothers), Chamunda being one of them. The mothers are described as established by the creator god Brahma for saving king Harishchandra from calamities. Apart from usual meaning of Chamunda as slayer of demons Chanda and Munda, the Devi Purana gives a different explanation: Chanda means terrible while Munda stands for Brahma's head or lord or husband. In the Vishnudharmottara Purana - where the Matrikas are compared to vices - Chamunda is considered as a manifestation of depravity. Every matrika is considered guardian of a direction. Chamunda is assigned the direction of south-west.
Chamunda, being a Matrika, is considered one of the chief Yoginis, who are considered to be daughters or manifestations of the Matrikas. In the context of a group of sixty-four yoginis, Chamunda is believed to have created seven other yoginis, together forming a group of eight. In the context of eighty-one yoginis, Chamunda heads a group of nine yoginis.
Worship: A South Indian inscription describes ritual sacrifices of sheep to Chamunda. In Bhavabhuti's eighth century Sanskrit play, Malatimadhva describes a devotee of the goddess trying to sacrifice the heroine to Chamunda's temple, near a cremation ground, where the goddess temple is. A stone inscription at Gangadhar, Rajasthan, deals with a construction to a shrine to Chamunda and the other Matrikas, "who are attended by Dakinis" (female demons) and rituals of daily Tantric worship (Tantrobhuta) like the ritual of Bali (offering of grain).
Temples
• In the Kangra district of Himachal Pradesh, around 10 kilometres (6.2 mi) west of Palampur, is the renowned Chamunda Devi Temple which depicts scenes from the Devi Mahatmya, the Ramayana and the Mahabharata. The goddess's image is flanked by the images of Hanuman and Bhairava. Another temple, Chamunda Nandikeshwar Dham, also found in Kangra, is dedicated to Shiva and Chamunda. According to a legend, Chamunda was enshrined as chief deity "Rudra Chamunda", in the battle between the demon Jalandhara and Shiva.
• In Gujarat, two Chamunda shrines are on the hills of Chotila and Parnera.
• There are multiple Chamunda temples in Odisha. The 8th-century Baitala Deula is the most prominent of them, also being one of the earliest temples in Bhubaneswar. The Mohini temple and Chitrakarini temple in Bhubaneswar are also dedicated to Chamunda. Kichakeshwari Temple, near the Baripada and Charchika Temple, near Banki enshrine forms of Chamunda
• Another temple is Chamundeshwari Temple on Chamundi Hill, Mysore. Here, the goddess is identified with Durga, who killed the buffalo demon, Mahishasura. Chamundeshwari or Durga, the fierce form of Shakti, a tutelary deity held in reverence for centuries by the Maharaja of Mysore.
• The Chamunda Mataji temple in Mehrangarh Fort, Jodhpur, was established in 1460 after the idol of the goddess Chamunda — the Kuladevi and iṣṭa-devata (tutelary deity) of the Parihar rulers — was moved from the old capital of Mandore by the then-ruler Jodha of Mandore. The goddess is still worshiped by the royal family of Jodhpur and other citizens of the city. The temple witnesses festivities in Dussehra: the festival of the goddess.
• Another temple, Sri Chamundeshwari Kshetram is near Jogipet, in Medak District in Telangana State.
• Sree Shakthan Kulangara temple is one of Chamundeshwari temples. It is located in Koyilandy, Kozhikode District in Kerala.
• One Chamunda Mata temple is situated in Dewas, Madhya Pradesh, It is situated on a hill top named Tekri above 300 feet. Chamunda Mata in Dewas is also called Choti Mata (the younger sister of Tulja mata, situated at the same hill top).
In Buddhism
In Vajrayana Buddhism, Chamunda is associated with Palden Lhamo. She is seen as a wrathful form of Kali and is a consort of Mahakala and protectress of the Dalai Lama and Panchen Lama of the Gelug school.
In Jainism: Early Jains were dismissive of Chamunda, the goddess who demands blood sacrifice - which is against the primary principle of Ahimsa of Jainism. Some Jain legends portray Chamunda as a goddess defeated by Jain monks like Jinadatta and Jinaprabhasuri.
Another Jain legend tells the story of conversion of Chamunda into a Jain goddess. According to this story, Chamunda sculpted the Mahavir image for the temple in Osian and was happy with the conversions of Hindu Oswal clan to Jainism. At the time of Navaratri, a festival that celebrates the Hindu Divine Mother, Chamunda expected animal sacrifices from the converted Jains. The vegetarian Jains, however, were unable to meet her demand. Jain monk Ratnaprabhasuri intervened, and as a result, Chamunda accepted vegetarian offerings, forgoing her demand for meat and liquor. Ratnaprabhasuri further named her Sacciya, one who had told the truth, as Chamunda had told him the truth that a rainy season stay in Osian was beneficial for him. She also became the protective goddess of the temple and remained the clan goddess of the Osvals. The Sachiya Mata Temple in Osian was built in her honour by Jains. Some Jain scriptures warn of dire consequences of worship of Chamunda by the Hindu rites and rituals. Many Kshatriyas and even the Jain community worship her as her Kuladevi or family/clan deity.
Kala:
Kala (Sanskrit: काल, romanized: Kala/Kalam, IPA: [kɑːˈlə]) is a Sanskrit term that means 'time' or 'death'. As time personified, destroying all things, Kala is a god of death, and often used as one of the epithets of Yama. In Shaivism, Kala is known as the fiery avatar of Shiva Kala Bhairava or Kalagni Rudra; and in Vaishnavism Kala is also associated with Narasimha and Pralaya. As applied to gods and goddesses, Kalá is not always distinguishable from kala, meaning 'black'. According to Monier-Williams, kala 2 is from the verbal root kal "to calculate", while the root of kala 1 is uncertain, though possibly the same. As applied to gods and goddesses in works such as the Devī Mahatmya and the Skanda Puraṇa, kala 1 and kala 2 are not readily distinguishable. Thus Wendy Doniger, translating a conversation between Śiva and Parvatī from the Skanda Puraṇa, says Mahakala may mean " 'the Great Death' ... or 'the Great Black One' ".And Swamī Jagadīśvarananda, a Hindu translator of the Devi Mahatmya, renders the feminine compound kala-ratri (where ratri means "night") as "dark night of periodic dissolution".
Deity:
Epics and the Puranas : Kala appears as an impersonal deity within the Mahabharata, the Ramayana, and the Bhagavata Purana. In the Mahabharata, Krishna, one of the main characters, reveals his identity as Time personified. He states to Arjuna that both sides on the battlefield of the Kurukshetra War have already been annihilated. At the end of the epic, the entire Yadu dynasty (Krishna's dynasty) is similarly annihilated. Kala appears in the Uttara Kanda of the Ramayana, as the messenger of Death (Yama). At the end of the story, Time, in the form of inevitability or necessity, informs Rama that his reign on Earth is now over. By a trick or dilemma, he forces the death of Lakshmana, and informs Rama that he must return to the realm of the gods. Lakshmana willingly passes away with Rama's blessing and Rama returns to Vaikuntha.
Time appears in the Bhagavata Purana as the force that is responsible for the imperceptible and inevitable change in the entire creation. According to the Purana, all created things are illusory, and thereby subject to creation and annihilation, this imperceptible and inconceivable impermanence is said to be due to the march of Time. Similarly, Time is considered to be the unmanifest aspect of God that remains after the destruction of the entire world at the end of a lifespan of Brahma. According to Soifer, Narasimha is explicitly linked with Pralaya or Yuganta itself in Bhagavata Purana, Linga Purana, and Kurma Purana versions; he is said to appear like Kala or the fire of destruction, both agents of Pralaya.
In the Chaitanya Bhagavata, a Gaudiya Vaishnava text and biography of Chaitanya Mahaprabhu, it is said that the fire that emerges from the mouth of Sankarshana at the End of Time is the Kalanala, or "fire of Time".-One of the names of Sankarshana is kalagni, also "fire of time". The Vishnu Purana also states that Time (kala) is one of the four primary forms of Vishnu, the others being matter (Pradhana), visible substance (vyakta), and Spirit (Purusha). According to Pinchman, "It is said that at the time of primordial creation, three forms arise from Vishnu: time (kala), purusha, and prakrti". Bhagavad Gita: At Bhagavad Gita 11.32, Krishna takes on the form of kala, the destroyer, announcing to Arjuna that all the warriors on both sides will be killed, apart from the
Pandavas:
कालो ऽस्मि लोकक्षयकृत् प्रवृद्धो लोकान् समाहर्तुम् इह प्रवृत्तः ।
This verse means: "Time (kala) I am, the great destroyer of the worlds, and I have come here to destroy all people." This phrase is famous for being quoted by J. Robert Oppenheimer as he reflected on the Manhattan Project's explosion of the first nuclear bomb in 1945.
In other cultures: In Javanese mythology, Batara Kala is the god of destruction. It is a very huge mighty and powerful god depicted as giant, born of the sperm of Shiva, the kings of gods.
In Borobudur, the gate to the stairs is adorned with a giant head, making the gate look like the open mouth of the giant. Many other gates in Javanese traditional buildings have this kind of ornament. Perhaps the most detailed Kala Face in Java is on the south side of Candi Kalasan.
In Thailand, he is popular worshipped together with Lak Mueang within Tai folk religion and Chitragupta in Hinduism.