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Parvati
Parvati
(Sanskrit: पार्वती, IAST: Pārvatī) or Uma (IAST: Umā) is the Hindu
Hindu
goddess of fertility, love and devotion; as well as of divine strength and power.[5][6][7] Known by many other names, she is the gentle and nurturing aspect of the Hindu
Hindu
goddess Shakti
Shakti
and one of the central deities of the Goddess-oriented Shakta sect. She is the mother goddess in Hinduism,[1][8] and has many attributes and aspects. Each of her aspects is expressed with a different name, giving her over 100 names in regional Hindu
Hindu
stories of India.[9] Along with Lakshmi
Lakshmi
(goddess of wealth and prosperity) and Saraswati
Saraswati
(goddess of knowledge and learning), she forms the trinity of Hindu
Hindu
goddesses (Tridevi).[10] Parvati
Parvati
is the wife of the Hindu
Hindu
god Shiva
Shiva
- the protector, the destroyer (of evil) and regenerator of universe and all life.[11] She is the daughter of the mountain king Himavan
Himavan
and queen Mena.[12] Parvati
Parvati
is the mother of Hindu
Hindu
deities Ganesha
Ganesha
and Kartikeya. The Puranas
Puranas
also referenced her to be the sister of the preserver god Vishnu
Vishnu
and the river goddess Ganga.[13][14] With Shiva, Parvati
Parvati
is a central deity in the Shaiva
Shaiva
sect. In Hindu belief, she is the recreative energy and power of Shiva, and she is the cause of a bond that connects all beings and a means of their spiritual release.[15][16] In Hindu
Hindu
temples dedicated to her and Shiva, she is symbolically represented as the argha or yoni. She is found extensively in ancient Indian literature, and her statues and iconography grace Hindu
Hindu
temples all over South Asia
South Asia
and Southeast Asia.[17][18]

Contents

1 Etymology and nomenclature 2 History 3 Iconography and symbolism 4 Manifestations and aspects of Parvati 5 Legends 6 Parvati
Parvati
in culture

6.1 Festivals 6.2 Arts 6.3 Numismatics 6.4 Major temples

6.4.1 List of temples

7 Outside India 8 Related goddesses 9 Notes 10 References 11 External links

Etymology and nomenclature[edit]

Parvati
Parvati
as a two-armed consort goddess of Shiva
Shiva
(left), and as four-armed Lalita with her sons Ganesha
Ganesha
and Skanda, Odisha, India. 11th century sculpture from the British Museum. 1872,0701.54 .

Parvata (पार्वती) is one of the Sanskrit
Sanskrit
words for "mountain"; "Parvati" derives her name from being the daughter of king Himavan
Himavan
(also called Himavat, Parvat) and mother Mena.[11][12] King Parvat is considered lord of the mountains and the personification of the Himalayas; Parvati
Parvati
implies "she of the mountain".[19] Parvati
Parvati
is known by many names in Hindu
Hindu
literature.[20] Other names which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri
Shailaputri
(Daughter of Mountains), Haimavathi (Daughter of Himavan), Devi
Devi
Maheshwari,[1][2] and Girija or Girirajaputri (Daughter of king of the mountains).[21] The Lalita sahasranama
Lalita sahasranama
contains a listing of 1,000 names of Parvati (as Lalita).[9] Two of Parvati's most famous epithets are Uma and Aparna.[22] The name Uma is used for Sati (Shiva's first wife, who is reborn as Parvati) in earlier texts,[which?] but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa, Parvati
Parvati
is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't').[23] She is also Ambika ('dear mother'), Shakti
Shakti
(power), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga
Durga
(invincible), Bhairavi
Bhairavi
('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), Urvi or Renu, and many hundreds of others. Parvati
Parvati
is also the goddess of love and devotion, or Kamakshi; the goddess of fertility, abundance and food/nourishment, or Annapurna.[24] The apparent contradiction that Parvati
Parvati
is addressed as the fair one, Gauri, as well as the dark one, Kali
Kali
or Shyama, as a calm and placid wife Parvati
Parvati
mentioned as Gauri and as a goddess who destroys evil she is Kali. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and of fertility.[25][26] History[edit]

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v t e

The word Parvati
Parvati
does not explicitly appear in Vedic literature.[27] Instead, Ambika, Rudrani and others are found in the Rigveda.[27] The verse 3.12 of the Kena Upanishad
Kena Upanishad
dated to mid 1st millennium BCE contains a goddess called Uma-Haimavati, a very common alternate name for Parvati.[27] Sayana's commentary in Anuvaka, however, identifies Parvati
Parvati
in the Kena Upanishad, suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati
Parvati
is thus an embodiment of divine knowledge and the mother of the world.[20] She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman
Brahman
to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons.[28] But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." [ IAST
IAST
original][27] Sati- Parvati
Parvati
appears in the epic period (400 BC–400 AD), as both the Ramayana
Ramayana
and the Mahabharata
Mahabharata
present Parvati
Parvati
as Shiva's wife.[27] However, it is not until the plays of Kalidasa
Kalidasa
(5th-6th centuries) and the Puranas
Puranas
(4th through the 13th centuries) that the stories of Sati- Parvati
Parvati
and Shiva
Shiva
acquire more comprehensive details.[29] Kinsley adds that Parvati
Parvati
may have emerged from legends of non-aryan goddesses that lived in mountains.[21] While the word Uma appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Hamsa Upanishad.[30] Weber suggests that just like Shiva
Shiva
is a combination of various Vedic gods Rudra
Rudra
and Agni, Parvati
Parvati
in Puranas
Puranas
text is a combination of wives of Rudra
Rudra
and Agni. In other words, the symbolism, legends and characteristics of Parvati
Parvati
evolved over time fusing Uma, Haimavati, Ambika in one aspect and the more ferocious, destructive Kali, Gauri, Nirriti in another aspect.[20][31] Tate suggests Parvati
Parvati
is a mixture of the Vedic goddesses Aditi
Aditi
and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga
Durga
and Kali
Kali
in later traditions.[32] Iconography and symbolism[edit]

Uma Maheshvara ( Parvati
Parvati
with Shiva), 12th-13th century from Odisha, India, currently in the British Museum.

Shivlinga icons are common for Parvati
Parvati
and Shiva. She is symbolically the yoni in the core of a 9th-century Hindu
Hindu
temple of Java, Indonesia temple (left), and in Pashupatinath Temple
Pashupatinath Temple
of Nepal
Nepal
(right).

Parvati, the gentle aspect of Devi
Devi
Shakti, is usually represented as fair, beautiful, and benevolent.[33][34] She typically wears a red dress (often a sari), and may have a head-band. When depicted alongside Shiva, she generally appears with two arms, but when alone, she may be depicted having four. These hands may hold a conch, crown, mirror, rosary, bell, dish, farming tool such as goad, sugarcane stalk, or flowers such as lotus.[7] One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha, is on her knee, while her younger son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow - a source of food. Bronze has been the chief metal for her sculpture, while stone is next most common material.[7] Parvati
Parvati
and Shiva
Shiva
are often symbolized by a yoni and a linga respectively. In ancient literature, yoni means womb and place of gestation, the yoni-linga metaphor represents "origin, source or regenerative power".[35] The linga-yoni icon is widespread, found in Shaivite Hindu
Hindu
temples of South Asia
South Asia
and Southeast Asia. Often called Shivalinga, it almost always has both linga and the yoni.[8] The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some depictions, Parvati
Parvati
and Shiva
Shiva
are shown in various forms of sexual union.[8] In some iconography Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing the antelope, the symbolism for nature and the elusive, Tarjani by the left hand — representing gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence.[citation needed] Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from devotee. If Parvati
Parvati
is depicted with two hands, Kataka mudra — also called Katyavalambita or Katisamsthita hasta — is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish fulfilling".[36] In Indian dance, Parvatimudra is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas, denoting most important deities described in Abhinaya Darpana. The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati.[37] Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati.[38] Parvati
Parvati
is sometimes shown with golden or yellow colour skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests.[39] In some manifestations, particularly as angry, ferocious aspects of Shakti
Shakti
such as Durga
Durga
or Kali, she has eight or ten arms, and is astride on a tiger or lion. In benevolent manifestation such as Kamakshi
Kamakshi
or Meenakshi, a parrot sits near her right shoulder symbolizing cheerful love talk, seeds and fertility. A parrot is found with Parvati's form as Kamakshi
Kamakshi
- the goddess of love, as well as Kama - the cupid god of desire who shoots arrows to trigger infatuation.[40] A crescent moon is sometimes included near the head of Parvati
Parvati
particularly the Kamakshi
Kamakshi
icons, for her being half of Shiva. In South Indian legends, her association with the parrot began when she won a bet with her husband and asked for his loin cloth as victory payment; Shiva
Shiva
keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi
Meenakshi
(also spelled Minakshi).[41]

Symbolism of many aspects for the same goddess

Parvati
Parvati
is expressed in many roles, moods, epithets and aspects. In Hindu
Hindu
mythology, she is an active agent of the universe, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects.[42] She is the voice of encouragement, reason, freedom and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapt to needs of circumstances in her role as the universal mother.[42] She identifies and destroys evil to protect (Durga), as well as creates food and abundance to nourish (Annapurna). Manifestations and aspects of Parvati[edit]

Parvati
Parvati
is expressed in many different aspects. As Annapurna she feeds, as Durga
Durga
(shown above) she is ferocious.

Several Hindu
Hindu
stories present alternate aspects of Parvati, such as the ferocious, violent aspect as Shakti
Shakti
and related forms. Shakti
Shakti
is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali
Mahakali
or Kali
Kali
(time).[43] In Linga
Linga
Purana, Parvati metamorphoses into Kali, on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. To lower Kali's rage, Shiva
Shiva
appeared as a crying baby. The cries of the baby raised the maternal instinct of Kali
Kali
who resorts back to her benign form as Parvati.[44] In Skanda Purana, Parvati
Parvati
assumes the form of a warrior-goddess and defeats a demon called Durg who assumes the form of a buffalo. In this aspect, she is known by the name Durga.[45] Although Parvati
Parvati
is considered another aspect of Sakti, just like Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern-day Hinduism, many of these "forms" or aspects originated from regional legends and traditions, and the distinctions from Parvati
Parvati
are pertinent.[46] In Devi
Devi
Bagwata Purana, Parvati
Parvati
is the lineal progenitor of all other goddesses. She is worshiped as one with many forms and names. Her form or incarnation depends on her mood. For example:

Durga
Durga
is a demon-fighting form of Parvati, and some texts suggest Parvati
Parvati
took the form of Durga
Durga
to kill the demon Durgamasur. Kali
Kali
is another ferocious form of Parvati, as goddess of time and change, with mythological origins in the deity Nirriti. Chandi
Chandi
is the epithet of Durga, considered to be the power of Parvati; she is black in color and rides on a lion, slayer of the demon Mahishasura. Ten Mahavidyas
Mahavidyas
are the ten aspects of Shakti. In tantra, all have importance and all are different aspects of Parvati. 52 Shakti
Shakti
Peethas suggests all goddesses are expansions of the goddess Parvati. Navadurga
Navadurga
nine forms of the goddess Parvati Meenakshi, goddess with eyes shaped like a fish. Kamakshi, goddess of love and devotion. Lalita, the playful Goddess of the Universe, she is a form of the Devi Parvati. Akhilandeshwari, found in coastal regions of India, is the goddess associated with water.[47] Annapurna is the representation of all that is complete and of food.

Legends[edit]

Wall carvings in Ellora Caves- A scene depicting Kalyanasundara
Kalyanasundara
- the wedding of Shiva
Shiva
(four armed figure, right) and Parvati
Parvati
(two armed, left).

The Puranas
Puranas
tell the tale of Sati's marriage to Shiva
Shiva
against her father Daksha's wishes. The conflict between Daksha
Daksha
and Shiva
Shiva
gets to a point where Daksha
Daksha
does not invite Shiva
Shiva
to his yagna (fire-sacrifice). Daksha
Daksha
insults Shiva, when Sati comes on her own. She immolates herself at the ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the daughter of Himavat and Mainavati,[4] and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat.[48][49][50] According to different versions of her chronicles, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. Indra
Indra
sends the god Kama
Kama
- the Hindu
Hindu
god of desire, erotic love, attraction and affection, to awake Shiva
Shiva
from meditation. Kama
Kama
reaches Shiva
Shiva
and shoots an arrow of desire.[51] Shiva
Shiva
opens his third eye in his forehead and burns the cupid Kama
Kama
to ashes. Parvati
Parvati
does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, yogin and tapas. This draws the attention of Shiva
Shiva
and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems.[51] Parvati
Parvati
refuses to listen and insists in her resolve. Shiva
Shiva
finally accepts her and they get married.[51][52] Shiva
Shiva
dedicates the following hymn in Parvati's honor,

I am the sea and you the wave, You are Prakṛti, and I Purusha. – Translated by Stella Kramrisch[53]

Parvati
Parvati
with Shiva
Shiva
and sons Ganesha
Ganesha
(leftmost) and Kartikeya (rightmost). Parvati
Parvati
is depicted with green complexion, denoting dark complexion.

After the marriage, Parvati
Parvati
moves to Mount Kailash, the residence of Shiva. To them are born Kartikeya
Kartikeya
(also known as Skanda and Murugan) - the leader of celestial armies, and Ganesha
Ganesha
- the god of wisdom that prevents problems and removes obstacles.[11][54]

Alternate stories

There are many alternate Hindu
Hindu
legends about the birth of Parvati
Parvati
and how she got married with Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala.[23] According to Devi
Devi
Bhagawata Purana
Purana
and Shiva
Shiva
Purana
Purana
mount Himalaya and his wife Mena appease goddess Adi Shakti. Pleased, Adi Shakti
Shakti
herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva
Shiva
has regional variations, suggesting creative local adaptations. In another version of Shiva
Shiva
Purana, Chapters 17 through 52, cupid Kama
Kama
is not involved, and instead Shiva
Shiva
appears as a badly behaved, snake wearing, dancing, disheveled beggar who Parvati
Parvati
gets attracted to, but who her parents disapprove of. The stories go through many ups and downs, until Parvati
Parvati
and Shiva
Shiva
are finally married.[55] Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes the story of the maiden Parvati
Parvati
who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati
Parvati
and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva
Kamadeva
after Parvati
Parvati
intercedes for him to Shiva.

Shiva
Shiva
with Parvati, 12th Century Chola
Chola
sculpture, Tamil Nadu, India.

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta
Shakta
texts, that she is said to transcend even Shiva, and is identified as the Supreme Being.[21] Just as Shiva
Shiva
is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity. Parvati
Parvati
thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati
Parvati
represents the householder ideal in the perennial tension in Hinduism
Hinduism
in the household ideal and the ascetic ideal, the later represented by Shiva.[43] Renunciation and asceticism is highly valued in Hinduism, as is householder's life - both feature as Ashramas
Ashramas
of an ethical and proper life. Shiva
Shiva
is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati
Parvati
is portrayed as the ideal householder keen about the nurturing worldly life and society.[51] Numerous chapters, stories and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life. Parvati
Parvati
tames Shiva
Shiva
with her presence.[43] When Shiva
Shiva
does his violent, destructive Tandava
Tandava
dance, Parvati
Parvati
is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance.[56] In many myths, Parvati
Parvati
is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.[56] Three images are central to the mythology, iconography and philosophy of Parvati: the image of Shiva-Shakti, the image of Shiva
Shiva
as Ardhanarishvara
Ardhanarishvara
(the Lord who is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva
Shiva
and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.[57] The couple is often depicted in the Puranas
Puranas
as engaged in "dalliance" or seated on Mount Kailash
Mount Kailash
debating concepts in Hindu
Hindu
theology. They are also depicted as quarreling.[58] In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva
Shiva
symbolises the union of a male and female in "ecstasy and sexual bliss"

Siva-parvathi

.[59] In art, Parvati
Parvati
is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.[60] Shaiva
Shaiva
approaches tend to look upon Parvati
Parvati
as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas
Mahavidyas
(Wisdom Goddesses) of Shakta
Shakta
Tantrism. This event occurs while Shiva
Shiva
is living with Parvati
Parvati
in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out, manifests in the form of ten terrifying goddesses who block Shiva's every exit. David Kinsley states,

The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta
Shakta
texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva
Shiva
and Parvati
Parvati
are living in her father's house in itself makes this point, as it is traditional in many parts of India
India
for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva
Shiva
dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.[61]

Ardhanarishvara
Ardhanarishvara
- the Hindu
Hindu
concept of an ideal couple as complementing union, inspired by Siva-Parvati. Ardhanarishvara
Ardhanarishvara
in Elephanta Caves
Elephanta Caves
(left), and as an androgynous painting with one half Shiva, the other Parvati.[62]

Ardhanarisvara

Parvati
Parvati
is portrayed as the ideal wife, mother and householder in Indian legends.[63] In Indian art, this vision of ideal couple is derived from Shiva
Shiva
and Parvati
Parvati
as being half of the other, represented as Ardhanarisvara.[64] This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati respectively.[62][65]

Ideal wife, mother and more

Siva Parvathi

In Hindu
Hindu
Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows - being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband is her friend, refuge, and god.[66] She finds happiness in physical, emotional nourishment and development of her husband and her children. Their happiness is her happiness. She is positive and cheerful even when her husband or her children are angry, she's with them in adversity or sickness.[66] She takes interest in worldly affairs, beyond her husband and family. She is cheerful and humble before family, friends, and relatives; helps them if she can. She welcomes guests, feeds them and encourages righteous social life. Her family life and her home is her heaven, Parvati
Parvati
declares in Book 13 of the Mahabharata.[66] Rita Gross states,[8] that the view of Parvati
Parvati
only as ideal wife and mother is incomplete symbolism of the power of the feminine in mythology of India. Parvati, along with other goddesses, are involved with the broad range of culturally valued goals and activities.[8] Her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects, states Gross,[8] reflects the Hindu
Hindu
belief that the feminine has universal range of activities, and her gender is not a limiting condition.

Ganesha

Hindu
Hindu
literature, including the Matsya Purana, Shiva
Shiva
Purana, and Skanda Purana, dedicates many stories to Parvati
Parvati
and Shiva
Shiva
and their children.[67] For example, one about Ganesha
Ganesha
is:

Once, while Parvati
Parvati
wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha
Ganesha
was born. Parvati
Parvati
ordered Ganesha
Ganesha
not to allow anyone to enter the house, and Ganesha
Ganesha
obediently followed his mother's orders. After a while Shiva
Shiva
returned and tried to enter the house, Ganesha
Ganesha
stopped him. Shiva
Shiva
was infuriated, lost his temper and severed the boy's head with his trident. When Parvati
Parvati
came out and saw her son's lifeless body, she was very angry. She demanded that Shiva
Shiva
restore Ganesha's life at once. Shiva
Shiva
did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant headed deity.[68][69]

Parvati
Parvati
in culture[edit] Festivals[edit] Teej
Teej
is a significant festival for Hindu
Hindu
women, particularly in northern and western states of India. Parvati
Parvati
is the primary deity of the festival, and it ritually celebrates married life and family ties.[70] It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in green dress (seasonal color of crop planting season), while singing regional songs.[71] Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for the well-being of their husbands and visited their relatives. In Nepal, Teej
Teej
is a three-day festival marked with visits to Shiva- Parvati
Parvati
temples and offerings to linga.[70] Teej
Teej
is celebrated as Teeyan
Teeyan
in Punjab.[72] The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada (Shukla paksha). Parvati
Parvati
is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha
Ganesha
(Ganesh Chaturthi). The festival is popular in Maharashtra
Maharashtra
and Karnataka.[73]

Parvati
Parvati
being celebrated at Gauri Festival, Rajasthan.

In Rajasthan
Rajasthan
the worship of Gauri happens during the Gangaur
Gangaur
festival. The festival starts on the first day of Chaitra the day after Holi
Holi
and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival. Another popular festival in reverence of Parvati
Parvati
is Navratri, in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India
India
such as Gujarat, this is associated with Durga, with her nine forms i.e. Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayini, Kaalratri, Mahagauri, Siddhidatri.[74] Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. This festival is popular in Maharashtra
Maharashtra
and Karnataka, less observed in North India
India
and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu
Hindu
deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. In south Indian states such as Tamil Nadu
Tamil Nadu
and Andhra Pradesh, the Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali
Diwali
and married women fast for the day, prepare sweets and worship Parvati
Parvati
for the well-being of the family.[75] Arts[edit] From sculpture to dance, many Indian arts explore and express the stories of Parvati
Parvati
and Shiva
Shiva
as themes. For example, Daksha
Daksha
Yagam of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati
Parvati
and Shiva.[76] The Gauri-Shankar bead is a part of religious adornment rooted in the belief of Parvati
Parvati
and Shiva
Shiva
as the ideal equal complementing halves of the other. Gauri-Shankar is a particular rudraksha (bead) formed naturally from the seed of a tree found in India. Two seeds of this tree sometimes naturally grow as fused, and considered to symbolic of Parvati
Parvati
and Shiva. These seeds are strung into garlands and worn, or used in malas (rosaries) for meditation in Saivism.[77] Numismatics[edit] Ancient coins from Bactria
Bactria
(Central Asia) of Kushan Empire
Kushan Empire
era, and those of king Harsha
Harsha
(North India) feature Uma. These were issued sometime between 3rd- and 7th-century AD. In Bactria, Uma is spelled Ommo, and she appears on coins holding a flower.[78][79] On her coin is also shown Shiva, who is sometimes shown in ithyphallic state holding a trident and standing near Nandi (his vahana). On coins issued by king Harsha, Parvati
Parvati
and Shiva
Shiva
are seated on a bull, and the reverse of the coin has Brahmi
Brahmi
script.[80] Major temples[edit] See also: Shakti
Shakti
Peetha

Meenakshi
Meenakshi
Amman temple in Madurai, Tamil Nadu
Tamil Nadu
is a major temple dedicated to Meenakshi, an aspect of Hindu
Hindu
goddess Parvati.

Parvati
Parvati
is often present with Shiva
Shiva
in Saivite Hindu
Hindu
temples all over South Asia
South Asia
and southeast Asia. Some locations (Pithas or Shaktipeeths) are considered special because of their historical importance and legends about their origins in the ancient texts of Hinduism. Other locations celebrate major events in Parvati's life. For example, the World Heritage Site at Khajuraho is one such site where Parvati
Parvati
temple is found.[81] It is one of the four major sites associated with Parvati, along with Kedarnath, Kashi and Gaya. The temple’s origin in Khajuraho has been traced to the Hindu mythology in which Khajuraho is the place where Parvati
Parvati
and Shiva
Shiva
got married.[82][83]

One interpretation of the (Khajuraho) temples is that they were built to celebrate the mythic marriage of Shiva
Shiva
and his consort. At Maha-shivratri in Khajuraho, they celebrate the marriage of Shiva
Shiva
and Parvati. (...) The erotic sculptures are a metaphor of the union of Shiva
Shiva
and Parvati, the marriage of two cosmic forces, of light and darkness, sky and earth, spirit and matter.[83]

Each major Parvati- Shiva
Shiva
temple is a pilgrimage site that has an ancient legend associated with it, which is typically a part of a larger story that links these Hindu
Hindu
temples across South Asia
South Asia
with each other. List of temples[edit] Some temples where Parvati
Parvati
can be found include:

in Andhra pradesh: Maanikyambika Bhimeswara Temple in Karnataka: Mookambika Devi
Devi
Temple and Banashankari Temple in Kerala:Annapurneshwari Temple, Cherukunnu, Attukal Bhagavathy Temple, Chakkulathukavu Temple, Chengannur Mahadeva Temple, Oorpazhachi Kavu, Irumkulangara Durga
Durga
Devi
Devi
Temple, Valiya Kavu Sree Parvathi Devi
Devi
Temple, Sri Kiratha Parvathi Temple Paramelpadi, Korechal Kirathaparvathi Temple, Nedukavu Parvathy Devi
Devi
Temple, Karthyayani Devi
Devi
Temple, Varanad Devi
Devi
Temple, Veluthattu Vadakkan Chowa Temple, Thiruvairanikulam Mahadeva Temple, Ardhanariswara Temple and Kadampuzha Devi
Devi
Temple in Madhya Pradesh: Parvati
Parvati
Temple in Maharashtra: Tulja Bhavani
Bhavani
Temple in Meghalaya: Nartiang Durga
Durga
Temple in Tamil Nadu: Meenakshi
Meenakshi
Amman Temple, Kamakshi
Kamakshi
Amman Temple, Sri Siva Durga
Durga
Temple, Mandaikadu Bhagavathi Temple and Devi
Devi
Kanya Kumari in Tripura: Tripura Sundari
Tripura Sundari
Temple in Uttar Pradesh: Vishalakshi Temple, Vishalakshi Gauri Temple
Vishalakshi Gauri Temple
and Annapurna Devi
Devi
Temple

Outside India[edit]

Parvati
Parvati
as Uma or Durga
Durga
sculpture are found in Southeast Asia. An 8th century Parvati
Parvati
from Cambodia
Cambodia
(left), a 10th century Uma from Champa Vietnam
Vietnam
(center), and a 14th century Parvati
Parvati
from Majapahit
Majapahit
Java (right).

Sculpture and iconography of Parvati, in one of her many manifestations, have been found in temples and literature of southeast Asia. For example, early Saivite inscriptions of the Khmer in Cambodia, dated as early as the fifth century AD, mention Parvati (Uma) and Siva.[84] Many ancient and medieval era Cambodian temples, rock arts and river bed carvings such as the Kbal Spean
Kbal Spean
are dedicated to Parvati
Parvati
and Shiva.[85][86] Boisselier has identified Uma in a Champa
Champa
era temple in Vietnam.[87] Dozens of ancient temples dedicated to Parvati
Parvati
as Uma, with Siva, have been found in the islands of Indonesia
Indonesia
and Malaysia. Her manifestation as Durga
Durga
has also been found in southeast Asia.[88] Many of the temples in Java
Java
dedicated to Siva- Parvati
Parvati
are from second half of 1st millennium AD, and some from later centuries.[89] Durga
Durga
icons and worship have been dated to be from the 10th- to 13th-century.[90]

Pillar temple with offerings to Dewi Sri. She is variously interpreted as Parvati
Parvati
or as Lakshmi.[91][92]

Derived from Parvati's form as Mahakali, her nipponized form is Daikokutennyo (大黒天女). In Nakhorn Si Thammarat province of Thailand, excavations at Dev Sathan has yielded a Hindu
Hindu
Temple dedicated to Vishnu
Vishnu
(Na Pra Narai), a lingam in yoni, a Shiva
Shiva
temple (San Pra Isuan). The sculpture of Parvati
Parvati
found at this excavation site reflect the South Indian style.[93][94]

Bali, Indonesia

Parvati, locally spelled as Parwati, is a principal goddess in modern-day Hinduism
Hinduism
of Bali. She is more often called Uma, and sometimes referred to as Giriputri (daughter of the mountains).[95] She is the goddess of mountain Gunung Agung.[96] Like Hinduism
Hinduism
of India, Uma has many manifestations in Bali, Indonesia. She is the wife of deity Siwa. Uma or Parwati is considered as the mother goddess that nurtures, nourishes, grants fertility to crop and all life. As Dewi Danu, she presides over waters, lake Batur and Gunung Batur, a major volcano in Bali. Her ferocious form in Bali
Bali
is Dewi Durga.[97] As Rangda, she is wrathful and presides cemeteries.[96] As Ibu Pertiwi, Parwati of Balinese Hinduism
Hinduism
is the goddess of earth.[96] The legends about various manifestations of Parwati, and how she changes from one form to another, are in Balinese literature, such as the palm-leaf (lontar) manuscript Andabhuana.[98] Related goddesses[edit]

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Tara found in some sects of Buddhism, particularly Tibetan and Nepalese, is related to Parvati.[99][100] Tara too appears in many manifestations. In tantric sects of Buddhism, as well as Hinduism, intricate symmetrical art forms of yantra or mandala are dedicated to different aspects of Tara and Parvati.[101][102] Parvati
Parvati
is closely related in symbolism and powers as Cybele
Cybele
of Greek and Roman mythology and as Vesta the guardian goddess of children.[11][103] In her manifestation as Durga, Parvati
Parvati
parallels Mater Montana.[11] She is the equivalent of Magna Mater (Universal Mother).[19] As Kali
Kali
and punisher of all evil, she corresponds to Proserpine and Diana Taurica.[104] As Bhawani and goddess of fertility and birthing, she is the symbolic equivalent of Ephesian Diana.[104] In Crete, Rhea is the mythological figure, goddess of the mountains, paralleling Parvati; while in some mythologies from islands of Greece, the terrifying goddess mirroring Parvati
Parvati
is Diktynna (also called Britomartis).[105] At Ephesus, Cybele is shown with lions, just like iconography of Parvati
Parvati
is sometimes shown with a lion.[105] Carl Jung, in Mysterium Coniunctionis, states that aspects of Parvati belong to the same category of black goddesses as Artemis, Isis
Isis
and Mary.[106][107] Edmund Leach equates Parvati
Parvati
in her relationship with Shiva, with that of Greek goddess Aphrodite
Aphrodite
- a symbol of sexual love.[108] Notes[edit]

^ a b c James D. Holt (2014). Religious Education in the Secondary School: An Introduction to Teaching, Learning and the World Religions. Routledge. p. 180. ISBN 978-1-317-69874-6.  ^ a b David Kinsley (19 July 1988). Hindu
Hindu
Goddesses: Visions of the Divine Feminine in the Hindu
Hindu
Religious Tradition. University of California Press. pp. 49–50. ISBN 978-0-520-90883-3.  ^ C. Mackenzie Brown (1990). The Triumph of the Goddess: The Canonical Models and Theological Visions of the Devi-Bhagavata Purana. SUNY Press.  ^ a b Sita
Sita
Narasimhan (2006). Śaivism Under the Imperial Cōl̲as as Revealed Through Their Monuments. p. 100. ISBN 9788188934324.  ^ H.V. Dehejia, Parvati: Goddess of Love, Mapin, ISBN 978-8185822594 ^ James Hendershot, Penance, Trafford, ISBN 978-1490716749, pp 78 ^ a b c Suresh Chandra (1998), Encyclopaedia of Hindu
Hindu
Gods and Goddesses, ISBN 978-8176250399, pp 245-246 ^ a b c d e f Rita M. Gross (1978), Hindu
Hindu
Female Deities as a Resource for the Contemporary Rediscovery of the Goddess, Journal of the American Academy of Religion, Vol. 46, No. 3 (Sep., 1978), pp. 269-291 ^ a b Keller and Ruether (2006), Encyclopedia of Women and Religion in North America, Indiana University Press, ISBN 978-0253346858, pp 663 ^ Frithjof Schuon (2003), Roots of the Human Condition, ISBN 978-0941532372, pp 32 ^ a b c d e Edward Balfour, Parvati, p. 153, at Google Books, The Encyclopaedia of India
India
and of Eastern and Southern Asia, pp 153 ^ a b H.V. Dehejia, Parvati: Goddess of Love, Mapin, ISBN 978-8185822594, pp 11 ^ Edward Washburn Hopkins, Epic Mythology, p. 224, at Google Books, pp. 224-226 ^ William J. Wilkins, Uma - Parvati, Hindu
Hindu
Mythology - Vedic and Puranic, Thacker Spink London, pp 295 ^ Ananda Coomaraswamy, Saiva Sculptures, Museum of Fine Arts Bulletin, Vol. 20, No. 118 (Apr., 1922), pp 17 ^ Stella Kramrisch (1975), The Indian Great Goddess, History of Religions, Vol. 14, No. 4, pp. 261 ^ Hariani Santiko, The Goddess Durgā in the East-Javanese Period, Asian Folklore Studies, Vol. 56, No. 2 (1997), pp. 209-226 ^ Ananda Coomaraswamy, Saiva Sculptures, Museum of Fine Arts Bulletin, Vol. 20, No. 118 (Apr., 1922), pp 15-24 ^ a b Alain Daniélou (1992), Gods of Love and Ecstasy: The Traditions of Shiva
Shiva
and Dionysus, ISBN 978-0892813742, pp 77-80 ^ a b c John Muir, Original Sanskrit
Sanskrit
Texts on the Origin and History of the People of India, p. 422, at Google Books, pp 422-436 ^ a b c Kinsley p.41 ^ Gopal, Madan (1990). K.S. Gautam, ed. India
India
through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 68.  ^ a b Wilkins pp.240-1 ^ Kinsley pp. 142-143 ^ Edward Balfour, Parvati, p. 381, at Google Books, The Encyclopaedia of India
India
and of Eastern and Southern Asia, pp 381 ^ Ernest Payne (1997), The Saktas: An Introductory and Comparative Study, Dover, ISBN 978-0486298665, pp 7-8, 13-14 ^ a b c d e Kinsley p.36 ^ Kena Upanisad, III.1–-IV.3, cited in Müller and in Sarma, pp. xxix-xxx. ^ Kinsley p.37 ^ Edward Washburn Hopkins, Epic Mythology, p. 224, at Google Books, pp. 224-225 ^ Weber in Hindu
Hindu
Mythology, Vedic and Purbnic By William J. Wilkins p.239 ^ Tate p.176 ^ Wilkins pp.247 ^ Harry Judge (1993), Devi, Oxford Illustrated Encyclopedia, Oxford University Press, pp 10 ^ James Lochtefeld (2005), "Yoni" in The Illustrated Encyclopedia of Hinduism, Vol. 2: N–Z, pp. 784, Rosen Publishing, ISBN 0-8239-2287-1 ^ Caroll and Caroll (2013), Mudras of India, ISBN 978-1848191099, pp 34, 266 ^ Caroll and Caroll (2013), Mudras of India, ISBN 978-1848191099, pp 184 ^ Caroll and Caroll (2013), Mudras of India, ISBN 978-1848191099, pp 303, 48 ^ The Shaktas: an introductory comparative study Payne A.E. 1933 pp. 7, 83 ^ Devdutt Pattanaik (2014), Pashu: Animal Tales from Hindu
Hindu
Mythology, Penguin, ISBN 978-0143332473, pp 40-42 ^ Sally Kempton (2013), Awakening Shakti: The Transformative Power of the Goddesses of Yoga, ISBN 978-1604078916, pp 165-167 ^ a b Ellen Goldberg (2002), The Lord Who Is Half Woman: Ardhanarisvara in Indian and Feminist Perspective, State University of New York Press, ISBN 978-0791453254, pp 133-153 ^ a b c Kinsley p.46 ^ Kennedy p.338 ^ Kinsley p.96 ^ Kinsley pp. 4 ^ Subhash C Biswas, India
India
the Land of Gods, ISBN 978-1482836554, pp 331-332 ^ Kinsley p.42 ^ William J. Wilkins, Uma - Parvati, Hindu
Hindu
Mythology - Vedic and Puranic, Thacker Spink London, pp 300-301 ^ In the Ramayana, the river goddess Ganga is the first daughter and the elder sister of Parvati; William J. Wilkins, Uma - Parvati, Hindu Mythology - Vedic and Puranic, Thacker Spink London ^ a b c d James Lochtefeld (2005), "Parvati" in The Illustrated Encyclopedia of Hinduism, Vol. 2: N–Z, pp. 503-505, Rosen Publishing, ISBN 0-8239-2287-1 ^ Kinsley p.43 ^ Stella Kramrisch (1975), The Indian Great Goddess, History of Religions, Vol. 14, No. 4, pp. 235-265 ^ Ganesa: Unravelling an Enigma By Yuvraj Krishan p.6 ^ Alain Daniélou (1992), Gods of Love and Ecstasy: The Traditions of Shiva
Shiva
and Dionysus, ISBN 978-0892813742, pp 82-87 ^ a b Kinsley p.48 ^ Kinsley p.49 ^ Kennedy p.334 ^ Tate, p.383 ^ Coleman p.65 ^ Kinsley, p. 26. ^ a b MB Wangu (2003), Images of Indian Goddesses: Myths, Meanings, and Models, ISBN 978-8170174165, Chapter 4 and pp 86-89 ^ Wojciech Maria Zalewski (2012), The Crucible of Religion: Culture, Civilization, and Affirmation of Life, ISBN 978-1610978286, pp 136 ^ Betty Seid (2004), The Lord Who Is Half Woman (Ardhanarishvara), Art Institute of Chicago Museum Studies, Vol. 30, No. 1, Notable Acquisitions at The Art Institute of Chicago, pp. 48-49 ^ A Pande (2004), Ardhanarishvara, the Androgyne: Probing the Gender Within, ISBN 9788129104649, pp 20-27 ^ a b c Anucasana Parva The Mahabharata, pp 670-672 ^ Kennedy p.353-4 ^ Paul Courtright (1978), Ganesa: Lord of Obstacles, Lord of Beginnings, Oxford University Press, ISBN 9780195057423 ^ Robert Brown (1991), Ganesh: Studies of an Asian God, SUNY Press, ISBN 978-0791406564 ^ a b Constance Jones (2011), Religious Celebrations: An Encyclopedia of Holidays (Editor - J. Gordon Melton), ISBN 978-1598842050, pp 847-848 ^ Devotion, mirth mark ‘Hariyali Teej’ The Hindu
Hindu
(10 August 2013) ^ Gurnam Singh Sidhu Brard (2007), East of Indus: My Memories of Old Punjab, ISBN 978-8170103608, pp 325 ^ The Hindu
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Religious Year By Muriel Marion Underhill p.50 Published 1991 Asian Educational Services ISBN 81-206-0523-3 ^ S Gupta (2002), Festivals of India, ISBN 978-8124108697, pp 68-71 ^ The Hindu
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Religious Year By Muriel Marion Underhill p.100 ^ Ragini Devi
Devi
(2002), Dance Dialects of India, Motilal Banarsidass, ISBN 978-8120806740, pp 201-202 ^ James Lochtefeld (2005), "Gauri-Shankar" in The Illustrated Encyclopedia of Hinduism, Vol. 1: A-M, pp. 244, Rosen Publishing, ISBN 0-8239-2287-1 ^ John M. Rosenfield (1967), The Dynastic Arts of the Kushans, University of California Press, Reprinted in 1993 as ISBN 978-8121505796, pp 94-95 ^ AH Dani et al, History of Civilizations of Central Asia, Vol. 2, Editors: Harmatta et al, UNESCO, ISBN 978-9231028465, pp 326-327 ^ Arthur L. Friedberg and Ira S. Friedberg (2009), Gold Coins of the World: From Ancient Times to the Present, ISBN 978-0871843081, pp 462 ^ Shobita Punja (1992), Divine Ecstasy - The Story of Khajuraho, Viking, New Delhi, ISBN 978-0670840274 ^ Devangana Desai, Khajuraho, Oxford University Press, ISBN 9780195653915, pp 42-51, 80-82 ^ a b Steven Leuthold (2011), Cross-Cultural Issues in Art: Frames for Understanding, Routledge, ISBN 978-0415578004, pp 142-143 ^ Sanderson, Alexis (2004), "The Saiva Religion among the Khmers, Part I.", Bulletin de Ecole frangaise d'Etreme-Orient, 90-91, pp 349-462 ^ Michael Tawa (2001), At Kbal Spean, Architectural Theory Review, Volume 6, Issue 1, pp 134-137 ^ Helen Jessup (2008), The rock shelter of Peuong Kumnu and Visnu Images on Phnom Kulen, Vol. 2, National University of Singapore Press, ISBN 978-9971694050, pp. 184-192 ^ Jean Boisselier (2002), "The Art of Champa", in Emmanuel Guillon (Editor) - Hindu-Buddhist Art in Vietnam: Treasures from Champa, Trumbull, p. 39 ^ Hariani Santiko (1997), The Goddess Durgā in the East-Javanese Period, Asian Folklore Studies, Vol. 56, No. 2 (1997), pp. 209-226 ^ R Ghose (1966), Saivism in Indonesia
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during the Hindu-Javanese period, Thesis, Department of History, University of Hong Kong ^ Peter Levenda (2011), Tantric Temples: Eros and Magic in Java, ISBN 978-0892541690, pp 274 ^ Joe Cribb; Sir Thomas Stamford Raffles (1999). Magic Coins of Java, Bali
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and the construction of the Modern Thai Identities", Mahidol University International College (Thailand) ^ Gutman, P. (2008), Siva in Burma, in Selected Papers from the 10th International Conference of the European Association of Southeast Asian Archaeologists: the British Museum, London, 14th-17th September 2004: Interpreting Southeast Asia's past, monument, image, and text (Vol. 10, p. 135), National University of Singapore Press ^ Reinhold Rost, Miscellaneous Papers Relating to Indo-China and the Indian Archipelago, p. 105, at Google Books, Volume 2, pp 105 ^ a b c Jones and Ryan, Encyclopedia of Hinduism, ISBN 978-0816054589, pp 67-68 ^ Michele Stephen (2005), Desire Divine & Demonic: Balinese Mysticism in the Paintings, University of Hawaii Press, ISBN 978-0824828592, pp 119-120, 90 ^ J. Stephen Lansing (2012), Perfect Order: Recognizing Complexity in Bali, Princeton University Press, ISBN 978-0691156262, pp 138-139 ^ David Leeming (2005), The Oxford Companion to World Mythology, Oxford University Press, ISBN 978-0195156690, pp 374-375 ^ Monier Williams, Buddhism: In Its Connexion with Brāhmanism and Hindūism, p. 216, at Google Books, pp 200-219 ^ David Frawley (1994), Tantric Yoga
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Shiva
and Dionysus, ISBN 978-0892813742, pp 79-80 ^ Joel Ryce-Menuhin (1994), Jung and the Monotheisms, Routledge, ISBN 978-0415104142, pp 64 ^ Ann Casement (2001), Carl Gustav Jung, SAGE Publications, ISBN 978-0761962373, pp 56 ^ Edmund Ronald Leach, The Essential Edmund Leach: Culture and human nature, Yale University Press, ISBN 978-0300085082, pp 85

References[edit]

David Kinsley, Hindu
Hindu
Goddesses: Vision of the Divine Feminine in the Hindu
Hindu
Religious Traditions (ISBN 81-208-0379-5) Vans Kennedy, Researches Into the Nature and Affinity of Ancient and Hindu
Hindu
Mythology; Published 1831; Printed for Longman, Rees, Orme, Brown, and Green; 494 pages; Original from Harvard University; Digitized 11 July 2005 [1] William J. Wilkins, Uma - Parvati, Hindu
Hindu
Mythology, Vedic and Puranic; Republished 2001 (first published 1882); Adamant Media Corporation; 463 pages; ISBN 1-4021-9308-4 Wendy Doniger O'Flaherty, Śiva, the Erotic Ascetic Charles Coleman, Mythology of the Hindus Karen Tate, Sacred Places of Goddess: 108 Destinations Srivastava, A. L. (2004). Umā-Maheśvara: An iconographic study of the divine couple. Kasganj, U: Sukarkshetra Shodh Sansthana.

External links[edit]

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Ganesha Kartikeya Nandi

Texts

Shvetashvatara Upanishad Shivarahasya Purana Shiva
Shiva
Purana Shiva
Shiva
Sutras of Vasugupta

Mantra/ Stotra

Om Namah Shivaya Rudrashtakam Mahamrityunjaya Mantra Shiva
Shiva
Tandava
Tandava
Stotram Shiva
Shiva
Sahasranama Shiv Chalisa Shri Rudram Chamakam Shiva
Shiva
mahimna stotram

Philosophical Traditions

Shaiva
Shaiva
Siddhanta Pashupata Shaivism Kashmir Shaivism Veera Shaivism Siddha
Siddha
Siddhanta Shiva
Shiva
Advaita Shaiva
Shaiva
Smartas

Jyotirlingas

Bhimāśankara Ghuṣmeśvara Kedāranātha Viśveśvara Mallikārjuna Mahākāleśvara Nāgeśvara Omkāreśvara Rāmeśvara Somanātha Tryambakeśvara Vaidyanātha

Pancha Bhoota Stalam

Chidambaram Temple (Ether) Sri Kalahasti Temple (Air) Annamalaiyar Temple
Annamalaiyar Temple
(Fire) Thiruvanaikaval Temple (Water) Ekambareswarar Temple
Ekambareswarar Temple
(Earth)

Temples

Amarnath Brihadeeswarar Kailash Mansarovar Katasraj temple Lingaraj Temple Meenakshi Tirunelveli Panch Kedar

Kedarnath Tungnath Rudranath Madhyamaheshwar Kalpeshwar

Pancha Sabhai

Ratna Sabai Pon Sabai Velli Sabai Thamira Sabai Chitira Sabai

Tiruchengode Thirukutralam Vadakkum Nathan List of Shiva
Shiva
temples in India

Traditional Observances

Kanwar Yatra Lingam

Rasalingam

Maha Shivaratri Pradosha Shiva
Shiva
Puja Siddha Vibhuti Other names

Category

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deities and texts

Gods

Trimurti

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Ganesha Kartikeya Hanuman Indra Surya more

Goddesses

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Sita Radha

Parvati

Sati Kali Adi Parashakti Mahavidya

Durga Shakti Navadurga Matrikas more

Texts

Vedas

Rig Sama Yajur Atharva

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Hinduism
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Concepts

Brahman Om Ishvara Atman Maya Karma Samsara

Purusharthas

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Niti

Ahimsa Asteya Aparigraha Brahmacharya Satya Dāna Damah Dayā Akrodha

Schools

Astika: Samkhya Yoga Nyaya Vaisheshika Mimamsa Vedanta

Dvaita Advaita Vishishtadvaita

Nastika: Charvaka

Texts

Classification

Śruti Smriti

Vedas

Rigveda Yajurveda Samaveda Atharvaveda

Divisions

Samhita Brahmana Aranyaka Upanishad

Upanishads

Aitareya Kaushitaki Brihadaranyaka Isha Taittiriya Katha Maitri Shvetashvatara Chandogya Kena Mundaka Mandukya Prashna

Upavedas

Ayurveda Dhanurveda Gandharvaveda Sthapatyaveda

Vedanga

Shiksha Chandas Vyakarana Nirukta Kalpa Jyotisha

Other

Bhagavad Gita Agamas Itihasas

Ramayana Mahabharata

Puranas Minor Upanishads Artha
Artha
Shastra Dharma
Dharma
Shastra

Manusmriti Nāradasmṛti Yājñavalkya Smṛti

Sutras Stotras Subhashita Tantras Yoga
Yoga
Vasistha Yoga
Yoga
Sutras of Patanjali

Deities

Trimurti

Brahma Vishnu Shiva

Ishvara Devi Deva Saraswati Lakshmi Parvati Shakti Durga Kali Ganesha Kartikeya Rama Krishna Hanuman Prajapati Rudra Indra Agni Dyaus Bhumi Varuna Vayu

Practices

Worship

Temple Murti Puja Bhakti Japa Bhajana Naivedhya Yajna Homa Tapa Dhyana Tirthadana

Sanskaras

Garbhadhana Pumsavana Simantonayana Jatakarma Namakarana Nishkramana Annaprashana Chudakarana Karnavedha Vidyarambha Upanayana Keshanta Ritushuddhi Samavartana Vivaha Antyeshti

Varnashrama

Varna

Brahmin Kshatriya Vaishya Shudra

Ashrama

Brahmacharya Grihastha Vanaprastha Sanyassa

Festivals

Diwali Holi Shivaratri Raksha Bandhan Navaratri

Durga
Durga
Puja Ramlila Vijayadashami
Vijayadashami
(Dasara)

Ganesh Chaturthi Rama
Rama
Navami Janmashtami Onam Pongal Makar Sankranti New Year

Bihu Gudi Padwa Pahela Baishakh Puthandu Vaisakhi Vishu Ugadi

Kumbha Mela Ratha Yatra Teej Vasant Panchami Others

Other

Svādhyāya Namaste Bindi Tilaka

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WorldCat Identities VIAF: 69733

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