Godess Saraswati

This document appears to be an excerpt from a larger work titled "Goddess Saraswati," discussing the sources for the study of her iconography and worship. The provided text focuses on two main categories of sources: literary and archaeological.

I. Literary Sources:

The text details the presence and depictions of Saraswati across a wide range of ancient and medieval Indian literature, including:

• Brahmanical Literature:

  • Vedas: Saraswati is mentioned in her various forms.
  • Brahmanas, Epics (Mahabharata, Ramayana), Puranas (Agni, Brahma-Vaivarta, Brihad-Devibhagavatam, Vishnu-dharmottara, Matsya, Skanda, Markandeya, Bhagavata, Brihad-Dharma), Agamas, Tantras, and Shilpa texts: These texts provide numerous references to Saraswati's iconography, though they are not always unanimous on details like the number of arms.
  • Iconographic Variations:
    • Two-armed Saraswati: Often depicted holding a vina (lute) and a pustaka (book). She is sometimes identified with Pushti, the Shakti of Vishnu. Descriptions include a white complexion, a crescent on her forehead, and sitting on a white lotus. One instance describes her holding a pen and book, while another mentions an ankusha (goad) and a book, with three eyes and a crescent on her head.
    • Four-armed Saraswati: This is a common depiction. Attributes vary but frequently include a pustaka, rosary (akshamaala), kamandalu (water pot), vina, ankusha, trident, pasa (noose), lotus, varada mudra (gesture of boon-giving), and abhaya mudra (gesture of fearlessness). Her color is often described as white, sometimes with a blue neck (Nilakantha). She is frequently depicted seated on a white lotus, sometimes in samabhanga or padmasana. She is associated with Vishnu as his consort, and sometimes with Shiva. Some texts describe her as having three eyes.
    • Multi-armed Saraswati: The text mentions an eight-armed Saraswati holding various weapons and tools like bana (arrow), shula (trident), ghanta (bell), hala (plough), dhanu (bow), chakra (discus), shankha (conch), and musala (pestle). A ten-armed Saraswati is described with vina, disc, conch-shell, bowl, noose, axe, vessel of nectar, book, rosary, and lotus.

• Jain Literature:

  • Vidyadevis: Saraswati is recognized as a Vidyadevi (goddess of knowledge) in Jainism, with various names like Shrutadevata, Sharada, Bharati, Bhasha, Vak, Vak-devata, Vagisvari, Vagvadini, Vani, and Brahmi.
  • Originality: The Jain conception of Vidyadevis is considered original, with Saraswati being a principal one.
  • Attributes: She is described as two-armed or four-armed, bestowing knowledge and purity, and symbolized by a manuscript, rosary, varadamudra, and water-vessel.
  • Vehicles: The Svetambara sect associates her with a swan, while the Digambara sect with a peacock.
  • Two-armed Jain Saraswati: Depicted holding a book and lotus, or a manuscript with varada mudra and a lotus.
  • Four-armed Jain Saraswati: Often depicted with a vina, book, rosary of pearls, and white lotus, or abhaya mudra, varada mudra, book, and lotus. The Digambara tradition associates her with a peacock mount and describes her as three-eyed, with a crescent on her jata (matted hair).

• Buddhist Literature:

  • Borrowing from Brahmanism: Buddhists appear to have adopted the concept of Saraswati from the Brahmanical pantheon, with her popularity increasing in Vajrayana Buddhism.
  • Association: She is associated with Manjushri (god of wisdom) and Prajnaparamita (goddess of transcendental wisdom).
  • Forms: Five forms are described: Mahasarasvati (two-armed, varadamudra, white lotus), Vajravina Sarasvati (two-armed, playing a vina), Vajrasarada (two-armed, holding lotus and book, three-eyed, crescent on crown), Arya Sarasvati (two-armed, holding red lotus and Prajnaparamita book), and Vajrasarasvati (three-faced, six-armed, red-complexioned, with various attributes like a book, sword, and skull-cup).
  • Tibetan Traditions: Three basic forms are mentioned: independent white goddess (one-faced, two-armed, holding a stringed instrument), independent red goddess (one-faced, two-armed, holding a wish-granting jewel and knowledge mirror), and the goddess as a consort (red, four-armed, embracing a male deity).

II. Archaeological Sources:

• Scope: Iconographic studies are largely based on archaeological finds from various regions of India, including sculptures (stone, wood, metal), seals, paintings, epigraphs, and numismatic evidence.

• Time Span: Finds range from the 2nd century CE to the 15th-16th centuries CE.

• Regional Variations: While distinct iconographic features are maintained, modifications occurred to suit different creeds and regional concepts.

• Epigraphs (Inscriptions):

  • Mentions: Inscriptions from India, Nepal, and Champa mention Saraswati, though less frequently than major deities.
  • Earliest Reference: An inscription from Karikali Tila (Mathura), dated to 132 CE, is considered the earliest reference to Saraswati. This inscription also suggests her association with dance and music.
  • Mythology: Origin myths connect her to Brahma's lotus-like face and suggest she dances on his tongue.
  • Associations: Inscriptions detail her associations with Brahma (as daughter or wife), Vishnu (as co-wife of Lakshmi, or consort), and Shiva (as Shakti). There are also references to her being the Shakti of Manjusri in Nepal.
  • Names: Various appellations are found, including Vagdevaya, Vani, Brahmi, Durga-Sarasvati, Sharada, Bharati, Gauri, and Chaturvritti.
  • Arts: She is described as the presiding deity of the four arts: nritya (dance), gita (music), vadya (instrumental music), and kavya (poetry).
  • Temples: Inscriptions mention the establishment of temples dedicated to Saraswati, such as at Dhar and Maihar.

• Numismatic Evidence:

  • Gupta Period: Saraswati is frequently represented on coins, particularly on the reverse of lyrist type coins of Samudragupta and on the "Tiger slayer" type coins of Kumaragupta I.
  • Identification: While some figures are identified as Lakshmi, the presence of a swan (hamsa) or the absence of a lotus in some depictions leads scholars to identify them as Saraswati.
  • Seals: Seals from places like Bhita and Rajghat bear the name Sarasvati, sometimes represented by a ghata (pitcher) emblem, symbolizing a river and the fullness of knowledge.
  • Later Periods: Saraswati appears on coins of later rulers as well.

In summary, the text provides a detailed overview of the literary and archaeological sources that inform the study of Goddess Saraswati's iconography and worship. It highlights the diversity of her representations across different religious traditions (Brahmanical, Jain, Buddhist) and geographical regions, noting variations in her attributes, forms, vehicles, and associations, while also emphasizing the continuity of certain core iconographic features throughout history.