Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Caṇḍikā, Pārvatī’s Unwanted Self (c. 5th to 7th Century)

View through CrossRef
By assessing early Śaiva and literary sources, this chapter demonstrates how Kālarātri-Nidrā-Kālī, Durgā's early form, was assimilated and transformed by Śaivism from the 5th century onwards, in which Durgā eventually acquired co-identity with Pārvatī, the consort and inalienable other half of the great god Śiva. Her dark complexion, a genetic feature of the Vaiṣṇava Nidrā, the sister of dark-hued Kṛṣṇa, is explained within this tradition as Pārvatī's rejected black skin, a symbol of mystery and danger, that she removes from her body to acquire a fairer complexion. The emergent goddess is the antonym of Pārvatī, a warrior virgin who, though a protector of Dharma, nevertheless remains potentially dangerous, as her earliest form Nidrā-Kālī. In this way, the Śaiva tradition views attributes of antinomianism, potentially within Pārvatī, to be transferred to Durgā, now known as Caṇḍikā, the Fiery Lady, Pārvatī's unwanted self, thereby enlarging the conception of the latter to a binary deity, who like Śiva, incorporates a gentle as well as a fierce or bhairava aspect. The chapter also argues that the goddess's capital-creating aspect was heightened in Śaivism. Navamī, initially a day when the goddess was said to be born, became crucial as one of the occasions when capital could be most profitably accessed from the goddess. What we find being developed from the earlier conception of the Vaiṣṇava Durgā and acquiring greater sophistication within Śaiva mythological and ritual domains is the ability of her spiritual repertoire to function as a religion for managing times of state crises and for granting largesse and power.
Title: Caṇḍikā, Pārvatī’s Unwanted Self (c. 5th to 7th Century)
Description:
By assessing early Śaiva and literary sources, this chapter demonstrates how Kālarātri-Nidrā-Kālī, Durgā's early form, was assimilated and transformed by Śaivism from the 5th century onwards, in which Durgā eventually acquired co-identity with Pārvatī, the consort and inalienable other half of the great god Śiva.
Her dark complexion, a genetic feature of the Vaiṣṇava Nidrā, the sister of dark-hued Kṛṣṇa, is explained within this tradition as Pārvatī's rejected black skin, a symbol of mystery and danger, that she removes from her body to acquire a fairer complexion.
The emergent goddess is the antonym of Pārvatī, a warrior virgin who, though a protector of Dharma, nevertheless remains potentially dangerous, as her earliest form Nidrā-Kālī.
In this way, the Śaiva tradition views attributes of antinomianism, potentially within Pārvatī, to be transferred to Durgā, now known as Caṇḍikā, the Fiery Lady, Pārvatī's unwanted self, thereby enlarging the conception of the latter to a binary deity, who like Śiva, incorporates a gentle as well as a fierce or bhairava aspect.
The chapter also argues that the goddess's capital-creating aspect was heightened in Śaivism.
Navamī, initially a day when the goddess was said to be born, became crucial as one of the occasions when capital could be most profitably accessed from the goddess.
What we find being developed from the earlier conception of the Vaiṣṇava Durgā and acquiring greater sophistication within Śaiva mythological and ritual domains is the ability of her spiritual repertoire to function as a religion for managing times of state crises and for granting largesse and power.

Related Results

तीजपर्वको सांस्कृतिक तथा सामाजिक पक्ष {Teej Festival: Cultural and Social Aspects}
तीजपर्वको सांस्कृतिक तथा सामाजिक पक्ष {Teej Festival: Cultural and Social Aspects}
तीज नेपालभरी मनाउने हिन्दू नेपाली महिलाहरुको सबैभन्दा ठूलो चाड हो । योपर्व भाद्रशुक्ल द्वितीयादेखि शुरु भई पञ्चमीसम्म मनाइन्छ । तीजको पहिलो दिन दरिलो खाद्य परिकारहरु अर्थात् ‘दर’ ख...
THE MIDNIGHT’S CHILDREN: SALEEM, SHIVA, AND PARVATI’S SIMILARITIES IN HINDU MYTHOLOGY
THE MIDNIGHT’S CHILDREN: SALEEM, SHIVA, AND PARVATI’S SIMILARITIES IN HINDU MYTHOLOGY
Rushdie’s Midnight’s Children, published in 1981, is one of the profound works that sheds light on the history of India and Pakistan. Through the body and narration of the main cha...
System and Methods for Detecting Unwanted Voice Calls
System and Methods for Detecting Unwanted Voice Calls
Voice over IP (VoIP) is a key enabling technology for the migration of circuit-switched PSTN architectures to packet-based IP networks. However, this migration is successful only i...
SELF-ESTEEM AND SELF-EFFICACY AMONG NEWSCASTERS AND NEWS REPORTERS
SELF-ESTEEM AND SELF-EFFICACY AMONG NEWSCASTERS AND NEWS REPORTERS
The present study aimedto investigaterelationship between self-esteem and self-efficacy among news casters and news reporters and to compare both groups in self-esteemand self-effi...
Movement Coordination: Factor Structure of Development in 5th-7th Grade Girls
Movement Coordination: Factor Structure of Development in 5th-7th Grade Girls
The study objective is to determine the structure of coordination abilities development in 5th-7th grade girls. Materials and methods. The participants in the study were 5th grade ...
Prevalence, Associated Factors and Consequences of Unwanted Pregnancy in Iran
Prevalence, Associated Factors and Consequences of Unwanted Pregnancy in Iran
Background: Unwanted pregnancy is a type of unplanned pregnancy that can endanger health of mother and child. This study aimed to determine the prevalence of unwanted pregnancy and...
The Automedial Zaniness of Ryan Trecartin
The Automedial Zaniness of Ryan Trecartin
IntroductionThe American artist Ryan Trecartin makes digital videos that centre on the self-presentations common to video-sharing sites such as YouTube. Named by New Yorker critic ...

Back to Top