Orissa Review * September - 2004

Sakti Cult in Upper Mahanadi Valley

S.S. Panda

Saptamatrka carved on monolithic rock at village Ghudar near Titilagarh, District Balangir

7 Learned scholar Rajeshwari1 writes, “The more. Varahamihira is silent about their conception of God as Mother is natural and number and has just mentioned that “Mothers ultimate. In almost all the ancient civilizations are to be made with cognisances of gods God is conceived as Mother. She is Prakrti, corresponding to their names.” The Earth and Mother Supreme.” Saptamatrkas are generally carved in relief Saptamatrka on a rectangular stone slab in the order of , Mahesvari, Kaumari, Vaisnavi, The creation of Matrkas is associated , and Camunda, being flanked by with the destruction of the by and Ganesa in both sides (first and Siva, which is elaborately described in the 2 last). Purana (179.1-90). We find details about the creation of the Saptamatrkas also in In the Varaha and Kurma Puranas8 it is 3 the Vaman Purana (44.1-96). T.A. Gopinatha mentioned that after Prahalada, Andhakasura 4 Rao has dealt in detail about the purpose of became the king of the and by his auster the creation of these Matrkas. He has quoted penances he obtained several boons from the stories from Matsya Purana, Vamana and became invincible. Being haressed Purana, Varaha Purana, Kurma Purana and by him, the Devas prayed Lord Siva in Kailasa the Suprabhedagama. The iconographical to come to their rescue. When Lord Siva was features of Saptamatrkas are found in listening to their complaints, Andhakasura 5 Purana, Amsumadbhedagama, and arrived there and challenged the Lord and even 6 Purana also. Learned scholar dared to try to snatch away . This Dr. H.C. Das has elaborately dealt with the act of the Asura infuriated Lord Siva as a result iconography and images of Saptamatrkas of which he took the three great Nagas; , found in Orissa in his recently published book Takshaka and Dhananjaya to be his belt and “Iconography of Sakta Divinities.” While all bracelets and got himself ready to fight with other texts put the number of Matrkas to be Andhakasura. Clad with his peculiar garments, seven. Varaha and Kurma put it to the Lord started his expedition alongwith his eight (Asthamatrkas). The number and names to fight with the Asura. Visnu and other of the Matrkas vary in different contexts. They gods also went with him to offer help. But in are usually seven, sometimes eight or even the struggle that ensued Visnu and other Devas

61 Orissa Review * September - 2004 had to run away. At last Lord Siva aimed his Balangir district. Huge stone-blocks having the arrow and shot at the Asura and wounded him; carved figures of Saptamatrkas were once blood began to flow in profusion from the upon a time adorning the pedestals meant for wound and each drop of it, as touched the earth central deities in temples at Udeypur and assumed the shape of another Andhakasura. Ranipur Jharial. The huge stone block once Thus there arose thousands of Andhakasura to adorning the temple at Udeypur is now lying fight against Siva. Immediately Siva thrust his half-buried in the embankment of a peddy field Trisula through the body of the real to the south-east of Udeypur village near Andhakasura and began to dance. Visnu Titilagarh. destroyed with his Chakrayudha the secondary But the Saptamatrka stone slab of Asuras produced from the blood drops of Ranipur Jharial is missing now, except we Andhakasura. To check the blood from falling know about it from a photo taken by the down on the earth, Siva created out of the flame Archaeological Survey of . Plate No.3319 that was issuing from his mouth a Sakti called in the book ' Art of Orissa', Yogesvari. and other Devas also sent their Vol.III by Prof. Thomas E. Donaldson). A Saktis to serve the same purpose. They are broken part of it having three of the seven Bhahmani, Mahesvari, Kaumari, Vaishnavi, Matrka figures has been shiefted by Dr. C.B. Varahi, Indrani and , who are the Patel, the present Superintendent of the Orissa female counterparts of the gods, Brahma, State Museum in around 1985 from the Ranipur Mahesvara, Kumara, Visnu, Varaha, Indra and Jharial site and now it is lying uncared in the respectively and are armed with the District Culture Office at Sambalpur. Before same weapons, wear the same ornaments and it is lost it should be shiefted to the Orissa ride the same and carry the same State Museum. This stone slab was most banners as the corresponding male gods do. probably installed in the Liyahari temple at Such is the account of the origin of the Ranipur Jharial in the original state. Saptamatrkas or the seven mother-goddesses. On the door-lintel of the Garbhagrha of The seven licked all drops of the Khambeswari temple of Sonepur, a panel blood and checked from falling on the ground, of ten lady figures are carved in one panel. In as a result of which the multiplication of the first and tenth positions are two front-faced secondary Andhakasura could not take place. ladies in the Dvibhanga standing position with In the struggle Andhakasura finally lost his both hands folded in obeisance, whereas rest power known as Asura Maya and was defeated of the eight goddesses (including Gajalaksmi) by Lord Siva. Nevertheless by the grace of are in the seated position. Gajalaksmi is in the Lord Siva, the Asura met a good end. centre, flanked by three and four seated Independent Saptamatrka images are to her proper right and left respectively. all found amidst loose sculptures at Belkhandi in these seven seated Devi figures are carved Kalahandi district and Chandital in Baud under Chhatra design and on their left thigh district. Rock-cut Saptamatrka panels are they hold one child each, seated on it. In the found on monolithic rocks, two at Ghudar and Gajalaksmi motif, Laksmi is seen to be seated another set of two at Ranipur Jharial in in Lalitasana. Most probably, this is a unique

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Gajalaksmi panel as one of the locks could not be tied, she and the only of its uprooted it and threw it on the ground. This kind, depicting the form produced the terrible goddess Saptamatrkas, a cult Chandamari. This Chandamari is Chamunda, popularised some so called as she presented the crest of skulls time around the 9th prepared from the heads of century A.D. This to . She is also called Kumarika, (Skanda panel might have Purana VII. 1.242.19). In the Vamana Purana been fitted during the (44.41.47) again it is mentioned that she was Chauhan period by born from the perspiration that gathered at the collecting it from the forehead of Siva when he fought with the ruins of an earlier demon Andhaka. As she was said to be Chamunda, Ranipur Jharial, Dist.Balangir temple. "smeared" with blood, she came to be known Chamunda as Charccika. The goddess Charccika is said to be at the boundary of the Utkala country. The Devi Mahatmyam (chap.7) Section She is said to be decorated with a garland of of the Markandeya Purana tells the story of human skulls. The Skanda Purana (II.2.11.91- Chamunda. According to this story a dazzlingly 92) mentions her in connection with a king beautiful goddess named Kausiki sprang from named (of Ujjayini) who the Supreme Goddess to annihilate the demon travelled to the Utkala country, got down from king Sumbha and his brother Nisumbha. In the chariot and paid respect to her. course of her fight she had to face in the (Sk.P.II.2.11.91- "Simamutkaladesasya beginning the demons Chanda and Munda. Vibhajantim Vanantare I Margastham Being furious by this, Kausiki created from her Carcikam Prapa Carcitam Mundamalaya II". forehead Chamunda, a goddess of terrible An eight-handed Chamunda is worshipped as countenance, black and scowling, with drawn Charccika at Banki, which can be taken as the sword and lasso, holding a Khatvanga, border of Utkala and Daksina Kosala in wearing a garland of skulls, clad in a tiger skin, ancient period. As mentioned in the hungry and emaciated, mouth hideously Visnudharmottara, Chamanda is described as distorted and the tongue protruding out. She living in the funeral ground under a Vata tree plucked off the heads of Chanda and Munda, surrounded with many ghosts. She likes flesh, and presented both heads to Kausiki. wine and fat, her face is smeared with flesh We find nine of her names like and fresh blood (Navarudhira-mukha) and she Charccika, Rudra - Chamunda, Mahalaksmi, sits on a corpse in the Padmasana pose Siddha Chamunda, Siddha Yogesvari, (Pretapadmasanastha). As a she likes Rupavidya, Ksama, Dantura and in flesh, wine and fat, her face is smeared with Agni Purana (44.41-47). flesh, fresh blood (Navarudhira-mukha). According to the Vamana Purana The same text gives a list of weapons (29.47-85), when Kausiki killed the demon found in her hands which are Musala, Kavaca, Ruru, she skinned him right from the ear to the Bana, Ankusa, Khadga, Khetaka, Pasa, feet and with that skin she tied her locks. But Dhanu, Danda and Parasu.

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In the upper Mahanadi valley of Orissa Saptamatrka group of goddesses amidst temple independent images of Chamunda are found in ruins at Belkhandi and Chandital. the Suvarnameru Siva temple at Sonepur, Siva Similarly her figure is carved in the temple at Mahagaon, Siva temple at Junagad Saptamatrka panels on huge monolithic rocks (Himgir), Ramesvara temple complex at Baud, at Ghudar and in two places at Ranipur Jharial. amidst temple ruins at Deogaon (Tarbha), The Chamunda of the Saptamatrka panel is Bhulia Sikuan and Chheliagarh to suggest that devoid of having any child seated on her lap, those images in their original state were while in the cases of other Matrkas except enshrined in Sakta shrines as the presiding Kaumari, a child is seen on their left thighs. deities. This might signifies her horrifying nature. As Avarana her figure is carved In the niche number thirteen of the in a Mundi niche design of the Kanika on the hapaethral Chausathi Yogini Temple at Ranipur south-west corner of the Indralath brick temple Jharial a two-handed Chamunda in her Dantura at Ranipur Jharial. Chamunda image is also aspect is found as one of the . At found among the Saptramatrka panels on Deogaon (Tarbha) an image of Chamunda, is monolithic rocks at Ghudar and in two places seen to be seated in the crouching posture on at Ranipur Jharial. A big figure of a four- the body of a male flatly lying below with his handed Chamunda, seen to be seated in hands raised up. But in the case of the Ardhaparyanka posture on a Visvapadmasana Chamunda found in the Matrka group in the is also carved on a huge monolithic rock to the Jagamohana of Samalei temple at Sonepur, she south-west of the Chausathi Yogini temple at is eight-handed and dancing in Lalita posture Ranipur Jharial. In the back side of this rock a on a corpse lying below, with it's hands raised Saptamatrka panel is carved. This big up over the head in Anjalimudra. Another Chamunda figure is seen to be sitting on a dancing Chamunda in her skeletoned body is corpse, which is being eaten by a jackel. Her seen to be carved on a huge monolithic rock in body is totally emaciated, garlands of skulls the Bhainro Pahad (Hill of Bhairav) at are hanging from her neck and also seen around Ghudar. her waist as waist-band. In her upper and The antiquity of goddess Suresvari, the lower right hands are Kartri and Dambaru central deity of the Suresvari temple at Sonepur respectively, while in the lower left hand is a seems to be very old. It is a sixhanded figure . In her upper left hand, she is cradling of Devi who is standing on a corpse. She is a long Trisula, on the top of which, a corpse is biting the finger of one of her left hands. In rest lifted up and at the same time she is seen biting of the left hands she holds Panapatra (skull- the little finger of that hand. She is almost bald, cup) and Khetaka (shield); while one Khadga but whatever little hair left is tied as a knot in (sword), Aksamala (rosary-beads) and a Sula the centre of her head. The skin of the elephant (small trident) are in her right hands. A garland demon has formed a halo in the back-slab just of skull is hanging from her neck. Goddess behind her figure. An image of Chamunda Suresvari seems to be none-else than having exactly similar iconographic feature is Chamunda. She is seen to be standing on a found alongwith other six images of the pedestal having two moulding courses with one

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round-shaped medallion the lower right hand is completely broken. On design in the centre, the pedestal portion, the figure of her connecting them. This lion is carved. Two standing female attendants medallion is having the are carved in both sides of this figure of Devi carving of two inter-twined and above those figures, two elephant heads snakes and flanked by two with raised trunks looking at the opposite floral motifs in both sides. directions are carved over her head. This seems Below this design there is a to be an aspect of Devi Parvati. design of two small lotus Kausiki buds. Iconographically this sculpture can be taken to be A stone-block, measuring around 30" in of the Somavamsi period, i.e. height and 24" in breadth, depicts the image of Parvati, Kapilesvar circa 10th century A.D. a fourhanded Durga, standing in Dvibhanga Temple,Charda posture. Object in her up-raised right hand is a In fact, while the seated Ghanta, while a Khadga is in the other right images of Chamunda are found at many places, hand. She is holding a Khetaka in her lower only four of her images in dancing pose are left hand, while touching the top portion of the located in places like Sonepur, Ghudar, Ranipur blade of Khadga in her upper left hand. Her Jharial and Bhulia Sikuan. The aspect of Vahana lion is standing near her right leg on Chamunda in the dancing pose is called the pedestal. Jatamukuta is adorning the head Chamunda. In the sixth niche of the Causathi of Devi. Her body is also adorned with all Yogini temple at Ranipur Jharial, the image of ornaments. The local villagers worship her as a two-handed Varuni Chamunda is fitted, while . It is an image of Kausiki,9 an aspect at Bhulia Sikuan a six-handed image is found. of Parvati. She has three eyes and is holding a In such aspect of her, she has her pendulous bell in one of her hands. It is said that she killed breasts hanging and a flabby belly, although the demons at the generally Chamunda figures are skeletoned. Vindhya mountain.10 She is also identified with Saumya Durga Ekanamsa. This goddess is Another important sculpture found at said to be the resident of the 11 Ranipur Jharial is that of the seated figure of Vindhya mountain. Devi, around two feet and a half in height and Inside a hut called at present kept inside the Jagamohana of the Mandir at Topigaon Somesvara temple. The head of the Devi is in Kalahandi district, there is adorned with a Karanda Mukuta and Kundalas a standing figure of are also hanging from her ears. Her waist- sixhanded Durga of the height portion is heavily ornamented by Katimekhala. of about three feet in her She is four-handed, holding a Pasa (Noose) in pacified (Saumya) form, her upper left hand, while in her lower left "Bhuvanesvari". Her lower hand there is a Panapatra (Hour Glass). The left palm is placed on the upper right hand is raised over her head in head of her Vahana, the lion, Kausiki, Lalei, which she is holding a Khadga (Sword) and which is standing behind her Dist. Sundargarh

65 Orissa Review * September - 2004 in profile. In her middle right arm, she is Budharaja temple at Atgaon in Balangir holding a long trident while other arms are district, Tarini temple at Bhawanipatna broken. and Asthasambhu temple at Icchapur in 13 Daksina Kalika Kalahandi district. On one monolithic rock of a rocky Ksemankari mountain called Tandel Dangar, situated to the Two important images are kept in two west of Dunguripali village near Budhi Komna separate rooms, constructed in front of the in Nuapada district the figure of a female deity Dhavalesvara temple at Mohangiri in is carved, standing in the Alidha position, Kalahandi district and are worshipped as copulating with a male which is lying flat Durga and Chandi respectively. One is that of below with Urdhvalinga. It is called goddess a standing fourhanded goddess of the height of Jharni by the local tribal populace. But it seems about 3'.6", three hands broken and in the lower to be the rock-cut sculpture of goddess Daksina right hand holding a vase. Here Devi is standing Kalika, who is generally depicted as having in Samabhanga pose. The other one is also intercourse with Lord Siva her consort. The that of an eighthanded goddess figure, locally iconography of this goddess corresponds to known as Durga, seated with the leftleg resting 12 description found in the Karpuradi-stotra, on the pedestal while the right leg is hanging giving the Mantroddhara of the deity. In her below. Devi is seen to be seated on a aspect of Daksina Kalika, she represents the Padmapitha (lotus-pedestal). She is wearing beneficent Grantor of Nirvana : “I worship a Kirita Mukuta on head and Patra Kundala the Destructress of Kala and Shining One, in both ears. Objects in her hands are small who is the Bija Krim, who is Kama, who is Trisula (right-upper), Khadga (right-upper- beyond Kala and who is Daksina Kalika.” second) Chakra (right-lower third) and Samkha (right-lower-fourth) as well as An image of fourhanded Daksina Kalika Khetaka (left-upper), Dhanu (lect-upper- is found alongwith images of Matrkas like seconda), Arrow (left-lower-third) and left- Kaumari, Vaisnavi, Varahi and Nrsimhi in lower-fourth hand in Varada separate niches inside the Jagamohana of the respectively, while the leftupper hand is Samlei temple at Sonepur. The goddess is broken. In the extreme right portion of the depicted as seated in Lalitasana, engaged in pedestal is a male seated-figure in Yogasana sexual congress with Lord Siva, who is lying with folded hands in obeisance near chest and on his back with his hands folded in to his right a seated female devotee in profile Anjalimudra over his head. The hair in Kali's also in folded-hands as well as that of a third head is dishevelled. She is holding a severed devotee in the extreme left side are depicted. head in her major left hand while the major The head of her mount, a roaring lion is seen right hand is in Varadamudra. In her other left in the left side of the pedestal, Devi's right foot hand is a Khadga, while the up-raised major being put on it's back. This seems to be the right hand is in the Abhayamudra. It seems to figure of goddess Vana Durga, while the be an image belonging to the 18th century A.D. standing one as described above, that of Such images of Daksina Kalika in Kshemankari, another form of goddess Durga, Viparita with Lord Siva are found in the who bestows good health to her devotees.

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Lajjyagauri Chalukyan temples of Another important piece of art found Alampur, Bhavanasi, Sangamesvaram, from Kotipadar in Nuapada district is a squatting figure of Lajjya Gauri, carved on a Yellala and Pratakota flat stone-plaque. It is a seated female figure also. A figure of Lajjya Gauri wearing in squatting posture, with both her legs spread 'langoti' type apart. She has round breasts and instead of underwear, carved on a head, there is a super-size fully-bloomed lotus square grey slatestone (Kamala), with prominent central pericarp, the plaque measuring nine Lajjya Gouri, Khariar, in lower calyx indicated above the pearl are private possession of centimetres was found historian J.P. Singhdeo prominent while the girdle and the abdomen in the Sanctum of a are thinner and supple. She wears a short brick temple at Keesaragutta (Andhra Pradesh) garment around her waist. Both upraised hands during excavations by the Archaeological are supported on the knees, in her left hand is Survey of India. This figure is dated to the 4th , while object in the right hand is broken. century A.D. These figures are taken as cult The head of Lajjya Gauri as Sahasra Padma figures in which rituals related to Kanya and (Thousand Lotus) symbolises the rise of Kumari worship for progeny assumed deep to Sahasrara. Stone plaque of the roots and spread widely in the South India 17 similar size (3½" x 3½"), red in colour and during the early centuries A.D. Lajjya Gauri having the Lajjya Gauri figure carved on it, figure are reported from various parts of upper has been discovered at Komna, also in 14 India like Uttar Pradesh, Madhya Pradesh, Nuapada district. Dr. Stella Kramrisch Chhattishgarh, Maharashtra and as well 18 indentifies the Lajjya Gauri figure with goddess as from down below, from . Such . "The Lotus head of Aditi placed on her a figure is found to be kept in the A.S.I. Museum shoulder overlays her throat with its petals." at Malhar in Bilaspur district of Chhatisgarh The lotus part above the neck, instead of human State also, which can be dated to circa 9th- 19 head finds mention in Vishnudharmottara -" 10th century A.D. Similar figures are Divyascha Mastake Padman Tatha Karyam reported from Bharhut, Mathura and Sanchi 15 20 Manoharam, Saubhagyam Tad Vijnahnih." also. Most of the Lajjya Gauri figures date It is apparent that the sculpture of Lajjya from the beginning of the Christian era when Gauri ranges in date from the early christian the concept of - 'the Mahakundalini' - had era to almost the 12th century A.D. and thus 21 taken deep roots and had virtually been was popular in that time as well. assimilated by all subjects of Indian religion. Tapasvini Parvati It is the imagery per excellence of Yogins. Similar Lajjya Gauri figures in stucco, Another sculpture under discussion, is terracotta and other soft stones are obtained that of Parvati which is at present worshipped from the later Satavahana levels at Nevasa, in a small shrine, situated to the north of the 16 Ter, Kondapur, and Yellaswaram etc. Such Suvarna meru temple at Sonepur. This image figure but in nude are reported from the is called Bhubanesvari by the priests and the

67 Orissa Review * September - 2004 local people. It is a fourhanded figure of the right hands she is holding Devi, seated in Padmasana on a Padmapitha. a Nagapasa and a small In her upper left and right hands she is holding Sula (trident) Pasa and Ankusa respectively, while her lower respectively. It is of the left and right hands are in Abhaya and Varada. size of 18" in height and She is wearing Patrakundalas in her ears and 12" in breadth Karandamukuta on her head. Diminutive bells approximately and can be are hanging from her Katimekhala. It can also dated to the 10th century be taken to be of the 15th century A.D. and A.D. exhibits the uniqueness of the early Chauhan A four-handed art in the upper Mahanadi valley of Orissa. image of Parvati, standing Another image of fourhanded Parvati, in the rigid Samabhanga Parvati, Belkhandi, seated in Padmasana is adorning the western posture is found amidst Dist. Kalahandi Parsvadevata niche of the Godhanesvara other sculptures at Belkhandi in Kalahandi temple at Godhanesvara in Sonepur district. district. In her up-raised hands the goddess is In her raised upper left and right hands she is holding an Aksamala (rosary) and Kataka holding a Sakti and Sarpa respectively, while flower respectively, while in her lower left her lower left and right hands are in Abhaya hand is a Kamandalu. Her right hand is in the and Varada. A conical Mukuta is adorning her Varadamudra. Two standing figures of lady head and a long garland is hanging from her attendants, also holding one Kamandalu each neck upto the pedestal-level. She is wearing in their right hands are carved on the pedestal Patrakundalas in her ears. It can be taken to in both sides of the central figure. Both sides be of the late period, i.e. circa 13th of the back-slab are designed as decorative century A.D. pilasters and a semi-oval floral band is One seated Parvati figure somewhat forming the Prabhavali. In both top-corners smaller in size is fitted to the northern of the back slab flying Vidyadhara (one male Parsvadevata niche of the Siva temple at and one female) couples are carved. Like other Champamal in the same district also, it being sculptures of the 8th-9th century A.D. a thick around eight inches in breadth and eighteen layer of stucco has been administered on the inches in height. The goddess is depicted as stone surface to enable the sculptor to do two-handed, the left hand in Abhayamudra and intricate art work. The hair of the goddess is the right in Varadamudra. She is seated in arranged in a tall coiffure. Padmasana and on a Pitha having three In the outer side of the Kosalesvara moulding courses. temple at Patnagarh in Balangir district an In the northern Parsvadevata niche of image of Tapasvini Parvati is kept, leaning the Kapilesvara temple at Charda in Sonepur against the southern exterior wall of the district a four-handed image of Parvati, seated Jagamohana. The front hands of the goddess in Padmasana is housed. Her major right hand are crossed in front of her body, while the back is in Varadamudra, while her major left hand hands are broken off. An oval halo is forming is in Abhayamudra. In her up-raised left and the Prabhavali. Two standing lady attendants

68 Orissa Review * September - 2004 are seen in both sides of her legs on the 2. Donaldson, Thomas E.; Sakta and Art of Orissa, pedestal. A Sivalinga with Yonipatta and a 2000, p.309. pot-bellied seated figure are carved in both 3. Ibid, p.310-11. 4. Rao, T.A. Gopinatha, Elements of Hindu Iconography, sides of the Prabhavali. In the top-most portion Vol.I, Part-II, 2nd Edition, Indological Book House, of the back-slab nine heads are carved, Varanasi, 1971, pp.379-383). possibly depicting the . 5. Agni Purana, Tr. by M.N. Dutta, Calcutta, 1903-04, Ch.50.18.22. In the southern interior wall of the 6. Markandeya Purana, (Ed. by K.M. Banerjee), Jagamohana of Kapilesvara temple at Charda, Bibliothica Indicati, Calcutta 1862. a four-handed image of goddess Parvati, of the 7. Brhatsamhita, Ch.57, v.56. height of around four feet is fitted. She is 8. Rao, T.A. Gopinatha, Ibid, Vol.I, pp.379-382; Vol.II, wearing Haras, Katimekhala and Mukuta etc. pp.191-192. 9. Sadasiva A. Dange, Encyclopaedia of Puranic Beliefs and holding Sakti and Khetaka in her up-raised and Practices, Vol.II, New , 1987, p.716. right and left hands respectively, while both 10. Skanda Purana, 1.2.29.45 ff. her lower hands are in Varadamudra. Above 11. Matsya Purana, 156.3-19. her head, in both sides, flying Vidyadhara 12. Avalon, Arthur; Hymns to Kali (Karpuradi Stotra), couples are seen with garlands in hands. Near Commentary of Vimalananda Swamy, Madras, 1965, her left leg, two antelope-like animals are pp.49-69. standing, while beside her right leg, a lion- 13. Singh, Ranvir; A Note on Some Unique Sculptures of Kalahandi, p.29; Souvenir of the U.G.C. Sponsored State like figure with the head of a female and hump Level Conference on Settlement and Urbanisation in Early (of a bull) on its back is standing on the hind Orissa, 12th-13th August 2004 at Government legs. There is a female attendant standing Autonomous College, Bhawanipatna, Orissa. 14. Stella Kramrisch, 'An Image of Aditi Uttanapada; Artibus besides her right leg also on the pedestal. It Asiae, Vol.XIX, 1956. seems to be an image of Tapasvini Parvati also. 15. Visnudharmottara Purana, (2,82,8). Similar life-size image of a two-handed 16. H. Sarkar, 'Origin and Development of Sakti Cult in Tapasvini Parvati wearing a Maharastrian type India' in 'Shankara and Shanmata', Madras, June 1969. headgear or Pagadi and holding a Kamandalu 17. I.K. Sharma, 'Brahmanical Brick Temples and Cult Images in her left hand is also found fitted to the from Keesaragutta' (Article) in Kusumanjali, Vol.I, Ed. by Rao, pp.236-237 ff. southern interior wall of the Jagamohana of 18. C. Margabandhu, 'Early Historic Terracotta from Gujarat. Kosalesvara temple at Vaidyanath in Sonepur A study,' Madhu, p.105, f.18, 1 & 2. district. It is also flanked by two female 19. O.P. Mishra, ' in Central India', Agam attendants, standing in both sides of her on the Kala Prakashan, Delhi, 1985. pedestal. 20. H.D. Sankalia, 'The Nude Goddess or Shameless Women in Western Asia, India and South Eastern Art', Artibus All these images found in different Asiae, Vol.XXII, p.121. places of the upper Mahanadi valley amply 21. R. Nagaswamy, 'From Aditi to Kundalini (from Pre-historic Visirikkal to Historic Srichakra)', p.323, in the book testify to the fact that Saktism flourished in the 'Dimensions of Indian Art-Pupul Jayakar Seventy, full-swing right from the early centuries in this Vol.I, Edited by Lokesh and Jyotindra Jain, Pub. part of Orissa. Agam Kala Prakashan, Delhi, 1986. References : 1. D.R. Rajeshwari, Sakti Iconography, Intellectual Publishing House, New Delhi, p.46. The researcher lives at VR-23, Unit-6, .

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