Lajja Gauri

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Lajjā Gaurī is a

sexuality, sometimes euphemistically described as Lajja ("modesty"). She is sometimes shown in a birthing posture, but without outward signs of pregnancy.[1]

6th century Lajja Gauri relief from Madhya Pradesh

History

Main article: History of Shaktism

Early depictions of Lajja Gauri in

Indus Valley seals,[2] though her later depiction dates to the 1st-3rd centuries, and her worship is prevalent in the Deccan, a region of the Indian subcontinent
.

Iconography

Her fertility aspect is emphasized by symbolic representation of the genitals,

chakras of human energy anatomy are often depicted as blossoming lotuses, and the goddess is often depicted in her Sri Yantra
as a yoni, shown as a simplified triangle at the centre. This is a feature present in all the Kohbar Mithila paintings which are worshipped by newlyweds in a Maithil wedding.

Further, most

ancient world are similarly shown headless, while giving prominent focus to the genitals.[3]
The arms of the goddess are bent upwards, each holding a lotus stem, held at the level of the head again depicted by the matured lotus flower.

Owing to an absence of verifiable text in

Indologists.[2]

The majority of the terracotta figurines were carved in the Gupta and post-Gupta periods.[2]

Worship

Icons of Lajja Gauri have been found in different villages, and local people identify her with other goddesses such as

Chalukya Empire which flourished around the 6th century AD.[8] Maithili
people worship Lajja Gauri during the marriage.She is an integral part of the Kohbar Mithila Painting which is kept in the nuptial chamber of newly weds.

Another arguable interpretation by Dr. Ramachandra C. Dhere in his book entitled Lajja Gauri is that Lanja/Lanjika means 'naked', which reminds us of the geographical area in Konkan (Maharashtra), called Lanja.

Symbolism and Hinduisation

The pose in which the Indian goddess Lajja Gauri is depicted is known as the uttanapad pose. Her head is substituted by a full-bloomed lotus flower. During the 19th century, when the British archaeologists discovered these images for the first time, they were shocked by the indecent eroticism and the shamelessness of such nude representations. The squatting, life-sized nudes were in stark contrast to their Victorian idea of decent morality and femininity. However, that was a classic case of conundrum born out of two distinct cultures interacting with each other. In Indian art and aesthetics, the Guari's uttanapad pose, that is how she sits with her knees bent and legs drawn up to the sides of her abdomen, signifies creation. Therefore, Lajja Gauri, as her name lajja suggests, represents modesty. She is an aspect of Gauri, that is a form of Parvati, the consort of Shiva, who is modest and shy, directly opposite to the interpretations of British archeologists who labelled these images as a nude–heathen representation of eroticism.[9]

This Gauri image is always associated with distinct symbols that connote the idea of fortune and fertility, explicitly signifying her powers. The three major symbols are: the Lotus, the Brimming Pot and the Srivastava. The lotus in Indian art styles connotes creation, fertility and fortune. It symbolizes an intergenerational transference of the reproductive potential and stands for the cyclical journey of life. While the brimming pot resembles the yoni or the womb. The overflowing pot is similar to the image of cornucopia suggesting affluence and abundant creative potential. Moreover, the arrangement of the torso, the large breasts, and the flower buds flanking the bloomed lotus on the head are similar to the purna kalasha design popular in all Hindu rituals and festivals since the Vedic times. The Srivastava in Indian art suggests a notion of creative fullness and fortune. It is usually depicted with a triangle, cross-shaped flower, or whorl-shaped arrangement. This juxtaposed metaphors of the lotuses and srivastavas could also be found at Bhahrut and Sanchi. A comparison could be made with the form of the Lajja Gauri. Carol Bolon does such a reading.[10] The Srivastava highlights her affinity to Lakshmi and her various forms, such as Sri and Gaja-Lakshmi. Like Lajja Gauri, all these are also goddesses of well-being and prosperity.[10]

The image of the goddess, and her worship, originated in tribal areas and/or local villages. She was a gramadevi, revered in her aniconic form. Mature images of her anthropomorphic forms can be seen in the Elephanta Caves (dated 500 CE), in the Ellora Caves (dated 550 CE), and throughout Gujarat during the 6th and 7th centuries. These mature representations hint at the beginning of her induction in the Brahminical fold of worship. Her Hinduisation paved the way for her entry into the temples, and slowly, even her mythological imagination also changed. She began to be associated with Shiva, was given a vahan, sakti's lion, and was gradually merged into the image of the goddess. She was also shown with Shiva's bull and lingam. In Andhra Pradesh, in various plaques and lintels, her image could be spotted with other major Hindu deities. One of the major contributing factors to Lajja Gauri's transformation from an esoteric personfied representational image to a full-fledged Hindu goddess was royal patronage, particularly the attention extended to her by the Chalukya kings.[9]

The quality and the quantity of the production of her images during the Early Chalukya rule suggests her popularity, and the royal patronage she enjoyed during the period. In many temples, dating back to the time, these images continue to be worshipped. This presents before us a continuous contemporary framework in which to locate this goddess. Temples like Telangana's Bala Brahma Temple, and the Lakulisa Temple at Karnataka, are some famous examples. These temples are frequented by childless women, couples, and newlyweds, seeking for fertility and power of procreation. They worship the goddess with ghee, powders, and flowers and perform the pradakshina around the sanctum sanctorum.[9]

Further reading

  • Forms of the Goddess Lajja Gauri in Indian Art, by Bolon, Carol Radcliffe. 1992.
    ISBN 978-0-271-00761-8
    .
  • The Universal Mother, by Shanti Lal Nagar. Published by Atma Ram & Sons, 1989.
    ISBN 81-7043-113-1
    . Chapter 18: The Mother Goddess as Aditi/Lajja Gauri. Page 200
  • Nasim Khan, M. (2002)Lajja Gauri Seals and related antiquities from Kashmir Smast, Gandhara, South Asian studies, British Academy, London, ROYAUME-UNI (Revue). ISSN 0266-6030. 2002, vol. 18, pp. 83–90.
  • "Sacred Display: Divine and Magical Female Figures of Eurasia." Miriam Robbins Dexter and Victor H. Mair. Amherst, New York: Cambria Press, 2010

See also

References

  1. ^ "Lotus-Headed Fertility Goddess Lajja Gauri". Metropolitan Museum of Art. Accessed 24 June 2018
  2. ^
    ISBN 81-7017-416-3
    . Page 84-86.
  3. ^ Iconography Of The Goddesses
  4. ISBN 978-0-271-00761-8
    .
  5. ISBN 0-89281-807-7
    . Page 4.
  6. ^ George Abraham (1990-01-01). "sculpture of Lajja-Gauri". Huntington.wmc.ohio-state.edu. Archived from the original on 2012-07-10. Retrieved 2013-03-14.
  7. ^ Badami Travel Archived 2008-12-09 at the Wayback Machine Karnataka Travel.
  8. ^ "The Lajja-Gouri Temple inside the Badami". Trekearth.com. 2008-04-09. Retrieved 2013-03-14.
  9. ^ a b c "Goddess Lajja Gauri in Indian Art – CA&A Exhibitions". Retrieved 2023-05-04.
  10. ^
    OCLC 42643733
    .

External links

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