Mundamala
Mundamala (
Hindu iconography
Fearsome goddesses
The mundamala is often found in the iconography of the
Another fierce goddess depicted often wearing the mundamala is Chamunda.[9]
Shiva
The god Shiva and his fierce manifestations are often depicted wearing the mundamala; Shiva is covered with ashes and skulls adorn him.[10] Pahari paintings often picture Shiva's family making mundamalas. Shiva's son Kartikeya helps him or his consort Parvati handing over a head, while the latter threads them. Another scene depicts the parents making the mundamala, while Kartikeya and his brother Ganesha play nearby.[11][12]
The ferocious manifestation of Shiva,
Symbolism
The fifty or fifty-two heads or skulls in the mundamala are described to symbolize the letters of the Sanskrit alphabet in Kali's iconography, thus signifying the wearer Kali as sabda Brahman, Ultimate Reality recognized as Sound and the primal sound of the sacred syllable Om.[17] Another interpretation links the mundamala symbolizing the heads of foes and demons slain by the wearer goddess in battle.[4] The mundamala in the context of Chhinnamasta's iconography is said to signify her victory over Time and fear of Death.[18]
In Shiva's iconography, the mundamala represents the continual creation and destruction cycles of human existence.[10]
Buddhist iconography
In
Wrathful Buddhist goddesses like Marichi, Vajravarahi, Guhyeshvari and dakinis are depicted wearing the mundamala.[23][24][25]
The Kumari, a girl worshipped as a goddess in Nepal, is identified with Vajravarahi by Buddhists. She wears a silver mundamala signifying her identity as Vajravarahi and her ferocious nature.[26]
Like in Hindu iconography, the mundamala symbolizes the Sanskrit alphabet in Buddhist iconography too.[27] In Chakrasamvara's iconography, it symbolizes the "abandonment of phenomenal appearances" as well as his union with his consort Vajravarahi (when depicted with him).[28]
Notes
- ^ Kinsley p. 63
- ^ Kinsley pp. 67–8
- ^ Kinsley p. 98
- ^ a b Kinsley p. 153
- ^ Kinsley p. 167
- ^ Kinsley p. 180
- ^ Kinsley p. 246
- ^ Kinsley p. 171
- ISBN 9780520054073.
- ^ ISBN 9780892813544.
- ^ Storm p. 293
- ISBN 9788170990161.
- ^ Rao p. 177, 179
- ^ Rao p. 153
- ^ Rao p. 186
- ^ Rao p. 200-1
- ^ Kinsley pp. 88–9
- ^ Benard p. 105
- ^ Huntington p. 491
- ^ Donaldson pp. 219–222, 230
- ^ Donaldson p. 230
- ^ Huntington p. 455
- ^ Donaldson pp. 304, 322
- ^ Huntington p. 238
- ^ Huntington p. 272
- ^ Huntington p. 417
- ^ Huntington p. 242
- ^ Huntington pp. 270, 272
References
- Kinsley, David R. (1997). Tantric Visions of the Divine Feminine: The Ten Mahāvidyās. University of California Press. ISBN 978-0-520-20499-7.
- Benard, Elisabeth Anne (2000). Chinnamastā: The Aweful Buddhist and Hindu Tantric Goddess. Motilal Banarsidass. ISBN 978-81-208-1748-7.
- Storm, Mary (2013). Head and Heart: Valour and Self-Sacrifice in the Art of India. New Delhi: Routledge. ISBN 978-0-415-81246-7.
- Rao, T.A. Gopinatha (1916). Elements of Hindu Iconography. Vol. 2: Part I. Madras: Law Printing House. OCLC 630452416.
- Donaldson, Thomas E. (2001-01-01). Iconography of the Buddhist Sculpture of Orissa: Text. Abhinav Publications. ISBN 9788170174066.
- Huntington, John C.; Bangdel, Dina (2003-01-01). The Circle of Bliss: Buddhist Meditational Art. Serindia Publications, Inc. ISBN 9781932476019.