Forms Of The Goddess Lajj Gaur In Indian Art

Striking images of a certain Indian goddess have been variously referred to as the "shameless woman" the "nude squatting goddess," the "mother goddess," or, because her historical name remains unknown, more than twenty-five names, among them Aditi, Lajjā Gaurī, Renukā, and Nagna Kabambdha. The best-known images of this goddess have a female torso and a lotus flower in place of a head, while her legs are bent up at the knees and drawn up to each side in a position that has been described as one of "giving birth" or "self-display." This type of goddess figure is explained as part of a long, highly sophisticated tradition of expressing fertility and well-being in Indian art. The artists creating images of Lajjā Gaurī drew on various ancient symbols of fortune, fertility, and life-force to communicate her power through their rich heritage of meanings. As these historical-religious symbols and images were constantly reused and reincorporated, they formed a new and enriched religious context. In the process of recycling they became empowered cultural metaphors, visual morphemes in the language of Indian art. Because there are no texts to explain the figure, the study proceeds from the basis of the objects to derive their meaning. Carol Bolon charts the changes in the goddess's form over a period of more than four centuries, including its possible adoption from tribal worship into Hindu temples, and brings a new appreciation of Lajjā Gaurī's rich symbolic meanings and cultural context.

The artists creating images of Lajja Gauri drew on various ancient symbols of fortune, fertility, and life-force to communicate her power through their rich heritage of meanings. Because there are no texts to explain the figure, the study proceeds from the basis of the objects to derive their meaning. Carol Bolon charts the changes in the goddess`s form over a period of more than four centuries, including its possible adoption from tribal worship into Hindu temples, and brings a new appreciation of Lajja Gauri`s rich symbolic meaning and cultural context.

From the Subhdsitaratnakosa, Verse No. 1729: vahati na pural) kascit pasclill na ko 'py anuyati mam na ca navapadak~ul)l)o marga!) katham nv aham ekaka!) bhavatu viditam purvavyu.

The Oxford History of Hinduism: The Goddess provides a critical exposition of the Hindu idea of the divine feminine, or Devī, conceived as a singularity expressed in many forms. With the theological principles examined in the opening chapters, the book proceeds to describe and expound historically how individual manifestations of Devī have been imagined in Hindu religious culture and their impact upon Hindu social life. In this quest the contributors draw upon the history and philosophy of major Hindu ideologies, such as the Purāṇic, Tāntric, and Vaiṣṇava belief systems. A particular distinction of the book is its attention not only to the major goddesses from the earliest period of Hindu religious history but also to goddesses of later origin, in many cases of regional provenance and influence. Viewed through the lens of worship practices, legend, and literature, belief in goddesses is discovered as the formative impulse of much of public and private life. The influence of the goddess culture is especially powerful on women's life, often paradoxically situating women between veneration and subjection. This apparent contradiction arises from the humanization of goddesses while acknowledging their divinity, which is central to Hindu beliefs. In addition to studying the social and theological aspect of the goddess ideology, the contributors take anthropological, sociological, and literary approaches to delineate the emotional force of the goddess figure that claims intense human attachments and shapes personal and communal lives.