National seminar on “Minor Deities in Indian Art,” held at the C. P. Ramaswami Aiyar Institute of Indological Research, Chennai on March 28th and 29th 2024 (3).

National seminar on “Minor Deities in Indian Art,” held at the C. P. Ramaswami Aiyar Institute of Indological Research, Chennai on March 28^th and 29^th 2024 (3).

28-03-2024 (Thursday): As I was expecting some photographs, I could not include them in the earlier postings and now included here. The paper, “The precept, concept and evolution of “minor deities” in India,” was presented first on the day with PPT. As only 15 minutes were given, it was wound up and completed. It covered the theme of the seminar, and it concluded with the following note:

Conclusion: In the Indian context, the question of “minor deities” covers thousands of years with many changes, modifications and incorporation. Thus, their representation in the art differs from time to time. Their position today as appearing in situ, at remote places, in the museums, temples functioning and deserted, inside and outside the temples and momentary worship for the occasion and all other exigencies also cannot decide the finality of the status of “minor deities”. In the modern context, to what extent, the syncretization, inculturation and inter-religious dialogue activities can be accepted has to be analyzed. They have to be two-sided and cannot be carried on in one way.

Only the believers of Gods and Goddesses have to be acceptable enough to accommodate all gods and goddesses, as they live in a secular state, if not a secular society. “If believers of Gods abuse Gods, seekers of Gods destroy Gods, faithful followers of one religion question the faith of others and, against all moral and ethical codes and universal principles, conduct pseudo-spiritual and psychological-religious warfare against another religion, then these activities are not “inculturation” but “outculturation”, as religion and culture are inseparable for Hindus[1].

“Theocentric and theocratic eclectics are as dangerous as nuclear, chemical and other warheads. The concept of “My God is your God, but your God is No God” does not foster understanding, co-operation and goodwill. The concept should be changed to “Your God is my God and my God is your God” and accepted by all religions…This is the only way for humanity today. Super God Rivalry, religious superiority, racial / arrogant theology, theocratic world domination and neo-spiritual globalism cannot make “believers” live in peaceful co-existence with others”[2].

In one way, the concept of “minor deities” creates an inferiority complex among the believers, as they have to accept the existence of “major deities.” However,  when kuladevata worship comes, all have to go there to remote places without any discrimination. Thus, such deities continue forever, as long as the believers are there. Only the families should remember their kula-devatas.

29-03-2024 4 to 5 pm: Technical Session – VI was held at the Gallery, parallel and chaired by  Dr. J. Soundararajan, Associate Professor & Head i/c Dept. of Ancient History and Archaeology, University of Madras and the following papers were presented:

Kandasami temple

The 27 sculptures there…

Sculptures of Vethalas

1. Mrs. Geetha C[3] – “Vedhalas Worship in Cheyyur” – Cheyyur Kandaswamy temple is one of the Least Known temples of Tamilnadu. Cheyyur is a place that is located off the East Coast Road about 80 km from Chennai and the main deity of this temple is Lord Muruga who is worshipped as Kandaswamy. The Kandaswamy temple is an ancient temple that was built during the Chola period and it has no Gopuram at the entrance. The temple faces the South and the main deity faces the East. The main Lord of the temple is Sri Kandaswamy with his wives Valli and Devayanai.

There are 27 Vedalams (Bethals) on the inner side of the compound wall of the temple.[4]. These 27 Vedalams are found with their hands lifted up representing the 27 Birth Stars or Nakshatras worshipping Lord Muruga. These 27 Vedalams that are found here are believed to be the 27 Boodaganas who helped Lord Muruga in fighting the Demon Soorapadman. These 27 Vedalams obey the instructions of Lord Bhairava and so you can see the separate deity of Bhairava alongside the Vedalams. The day of Ashtami, that falls after the Full Moon is called ‘Theipirai Ashtami’. This day is considered to be more auspicious for Bhairava. On this day, the devotees worship the Vedalam that represents their Birth star. On the day of Theipirai Ashtami, the Vedala pooja usually starts with Vinayaka Sankalpa, followed by special Archanai for the Vedalams with Red Arali (Nerium) flower. Then it will be followed by Abishekam and Special Archanai for Bhairava with 8 different types of flowers.

Uma presenting paper on Kubera..

Uma presenting paper – audience………

Uma presenting paper – audience- another view

• Mrs. C. Uma[5] – “Kubera – The Lord of Wealth and his influences in Indian Society” – Kubera – कुबेर, also known as Kuvera, Kuber and Kuberan, is the god of wealth, and the god-king of the semi-divine yakshas in Hinduism. He is regarded as the regent of the north (Dikpala), and a protector of the world (Lokapala). His many epithets extol him as the overlord of numerous semi-divine species, and the owner of the treasures of the world. Kubera is often depicted with a plump body, adorned with jewels, and carrying a money-pot and a club. Originally described as the chief of evil spirits in Vedic-era texts, Kubera acquired the status of a deva (god) only in the Puranas and the Hindu epics. The scriptures describe that Kubera once ruled Lanka, but was overthrown by his half-brother Ravana, later settling in the city of Alaka in the Himalayas. Descriptions of the “glory” and “splendour” of Kubera’s city are found in many scriptures. Kubera has also been assimilated into the Buddhist and Jain pantheons. In Buddhism, he is known as Vaisravana, the patronymic used of the Hindu Kubera and is also equated with Pañcika, while in Jainism, he is known as Sarvanubhuti.

• K. Bakialakshmi[6] – Jyestha (Thavvai) – Jyestha or Jyeshtha = ज्येष्ठा, Jyeṣṭhā, “the eldest” or “the elder”) is the Hindu goddess of adversity and misfortune. She is regarded as the elder sister and antithesis of Lakshmi, the goddess of prosperity and auspiciousness. She is commonly referred to as Moodevi in South India. Jyestha is associated with inauspicious places and sinners. She is also associated with sloth, poverty, sorrow, ugliness, and often depicted with the crow. She is sometimes identified with Alakshmi, another goddess of misfortune. Her worship was prescribed for women, who invoked her to keep her away from their homes. Jyestha appears in the Hindu tradition as early as 300 BCE. Her veneration was at its peak in South India in the 7th-8th century CE. By the 10th century, her popularity had waned, pushing her into oblivion. Today, numerous ancient images of Jyestha still exist, though she is seldom worshipped. She tried to equate Jyesta with Thavvai (Muthevi, Muthadevi etc) with sculptures of Tamilnadu. Nowadays, learned bloggers have been blogging on different subjects in detail and they can be converted into a book. For example, about this subject, a seven-part blog is available with all information, photos and other details in Tamil[7].

Tavvai sculpture found in Tamilnadu abandoned at several places……

• Ms. S. Nithya[8] –  “Iconography of Vārāhi” – Varahi = वाराही, is one of the Matrikas, a group of seven mother goddesses in the Hindu religion. Bearing the head of a sow, Varahi is the shakti (feminine energy) of Varaha, the boar avatar of the god Vishnu. In Nepal, she is called Barahi. In Rajasthan and Gujarat, she is venerated as Dandini. Varahi is more commonly venerated in the sect of the Goddess-oriented Shaktism, but also in Shaivism (devotees of Shiva) and Vaishnavism (devotees of Vishnu). She is usually worshipped at night, using secretive Vamamarga Tantric practices. The Buddhist goddesses Vajravārāhī and Marichi have their origins in the Hindu goddess Varahi. She tried compare the sculptures, but could not differentiate among the Jain, Buddhist, Hindu and other splinter tantric groups.

Varahi sculpture……..

When many research materials are available in the public domain research has to be new, different and appropriate: If any person, serious researcher, professor or an expert of the discipline attending conferences, seminars, congress or workshop continuously, he / she could find out that how papers are repeated with the material that is already available. The paper presenters, papers who prepares or researcher doing studies on any subject could also find such materials are available already in the public domain. After the advent of internet and the digitization of papers and books, anyone can easily access them. So also others, thus, the source, authenticity and veracity can be verified very easily. Nowadays, the plagiarism software points out, and it has become a tedious process of revising the PhD thesis again and again. The flow, way of expression and writing language also play important role, where the researcher has to maintain his / her individuality.  Therefore, the paper presenters should be judicious enough to take sources, use them properly and come out with new findings or at least new interpretation.

Research should be judicious and independent without bias: Research cannot be putting the “result” first and then finding the source or the supporting materials. Such researcher always tempts to take the material that is favourable and reject or ignore that is not required or against his “result.” The researcher has to follow the rule of “audi alterum partem” (to hear / listen the other side). Thus, a well-seasoned, unbiased and balanced researcher would go into all sources and learn from them. Suppose, if his hypothesis is wrong, then, definitely, he has to change the topic. How Newton discovered the Law of Gravitation, just by looking at the falling apples? Were apples flying in the sky instead of falling on the ground before? No, not at all. Therefore, thinking new is very much essential for a researcher, that too, different from others.

Academically conducted seminar: CPRIIR has self-contained expertise for conducting seminars, conferences and congresses also for many years. I have been attending for the last 30 years. The Director and the staff have been well-trained and they conducted the seminar academically giving an opportunity to the paper presenters. They have been meticulous in carrying out the programme very systematically. I had a feeling, as if I was there on Saturday also!

© K. V. Ramakrishna Rao

30-03-2024.

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[1] K. V. Ramakrishna Rao, Pollution of Hinduism, a letter appeared in Indian Express, March 28, 1989.

Collins, Paul. “The Praxis of Inculturation for Mission: Roberto de Nobili’s Example and Legacy.” Ecclesiology 3.3 (2007): 323-342.

[2]Sita Ram Goel, Catholic Ashrams, (Letter published in Indian Express March 28, 1989), Voice of India, New Delhi, 1994, p.161. Also, see here: http://voiceofdharma.com/books/ca/ch14.htm

[3] Abstracts, sl.no. 15; p.36.

[4]  Cheyyur Kandaswamy Temple – An Unique Temple With 27 Birth Star Vedalams – https://gosthala.com/cheyyur-kandaswamy-temple-a-temple-with-27-birth-star-vedalams/

[5] Abstracts, sl.no. 33; p.53.

[6] Abstracts, sl.no. 13; p.27.

[7] Vedaprakash, Muthevi, Muthadevi, Tavvai, Mundadevi etc., September 2018;

1. https://indianhistoriography.wordpress.com/2018/09/11/mudhevi-claiming-as-tamil-goddess-with-race-racial-and-racist-theories/
2. https://indianhistoriography.wordpress.com/2018/09/11/lakshmi-alakshmi-interpreted-by-dravidian-writers-without-any-basis-mudevi/
3. https://indianhistoriography.wordpress.com/2018/09/12/mudevi-tamil-experts-write-without-caring-for-historical-evidences-and-chronology/
4. https://indianhistoriography.wordpress.com/2018/09/12/mudevi-caught-in-aryan-dravidian-race-interpretation-without-historical-evidence/
5. https://indianhistoriography.wordpress.com/2018/09/12/tamil-writers-do-propaganda-without-any-historical-evidences-delving-upon-aryan-dravidian-myths/
6. https://indianhistoriography.wordpress.com/2018/09/12/vamacharya-amorous-sculpture-and-biased-research-mislead/
7. https://indianhistoriography.wordpress.com/2018/09/12/mudevi-muttadevi-thavvai-jyestha-devi-dravidian-witers-confusing-and-misleading-without-historical-evidences/

[8] Abstracts, sl.no. 19; p.35.

National seminar on “Minor Deities in Indian Art,” held at the C. P. Ramaswami Aiyar Institute of Indological Research, Chennai on March 28th and 29th 2024 (1).

National seminar on “Minor Deities in Indian Art,” held at the C. P. Ramaswami Aiyar Institute of Indological Research, Chennai on March 28^th and 29^th 2024 (1).

C. P. Ramswami Aiyar Institute of Indological Research: C. P. Ramswami Aiyar Institute of Indological Research (CPRIIR) have been regularly conducting conferences and seminars on the important topics connected with Indology[1]. They also bring out a journal, “The Journal of Indian History and Culture” regularly[2]. Some of the journals can be downloaded from here[3]. They have also brought out many books during the course of time. It is also affiliated to the University of Madras for doing PhD. Now, they organized a seminar focused on “Minor Deities in Indian Art,” on March 28^th and 29^th 2024 at their premises, Eladams Road, Chennai. Their circular gave the details of the seminar, theme etc as follows.

Seminar on the “minor deities”: Indian art and culture have been profoundly influenced by a multitude of deities, each with its own unique attributes, symbolism, and significance. While major deities like Vishnu, Shiva, and Devi have received extensive attention in both art and scholarship, there exists a rich tradition of minor deities that play vital roles in Indian religious and artistic traditions. These minor deities, often associated with specific regions, communities and narratives, have their own captivating stories and iconographic representations. In the ancient world, the veneration of natural powers was embodied by deities, both male and female, held prominence. The examination of archaic sources and archaeological remains has unveiled compelling evidence of reverence for nature manifesting through trees and animals and the symbolic significance of sacred symbols. Minor deities encompass a wide spectrum of beings, including local deities, demi-gods, guardian spirits and divine attendants. They represent the plurality and syncretism of Indian religious traditions, with each region and community often having its own set of minor deities.

“Minor deities” – related issues: Minor deities in Indian art are characterized by unique iconographic features and symbolism. Their depiction in sculpture, painting and other artistic forms reveal intricate details of specific attributes and narratives. These symbols and attributes serve as a visual language that conveys the deity’s role, personality and significance. Some examples of minor deities include the Ashtadikpalakas, Navagrahas, 12 Adityas as well as lesser-known forms of the main gods, such as Shastha, forms of Devi and the avataras of Vishnu, demi-gods in Buddhism and Jainism. This seminar aims to delve into the less-explored world of minor deities in Indian art, providing a platform for researchers to share insights into their iconography, mythology and regional significance.The seminar will encompass a wide range of themes related to minor deities in Indian art, including, but not limited to –

1. Iconography and Symbolism of Minor Deities
2. Regional Variations in Depictions
3. Minor Deities in Hinduism, Buddhism and Jainism
4. Minor Deities in Folk and Tribal Art
5. Rituals and Worship of Lesser-Known Deities
6. Literary Sources on Minor Deities

The proceedings of the seminar would be published to serve as a valuable resource for researchers and enthusiasts interested in the study of minor deities in Indian Art. Additionally, it would foster collaborations among scholars and institutions for future research endeavours in this field.

About the papers: The CPRIIR invited scholars and academics to submit their abstracts of research papers on or before February 25, 2024 emphasizing that the abstracts should be in English and within 500 words in Times New Roman font, 12 point.  It should include the title of the paper, name of the author, institutional affiliation, e-mail address and five keywords.  A short bio-data of the author (s), not exceeding half a typed page, should be sent along with the abstract.  The acceptance of the abstracts would be notified by February 28, 2024. The abstracts should be sent to cpriirconference@gmail.com on or before the closing date. Any other information may be obtained from the same mail address. Outstation participants are advised to make their own arrangements for accommodation. Participants should register themselves on or before March 15, 2024, as they were limiting the number of participants.

28-03-2024 inaugural session – Nandita speaking……….

28-03-2024 inaugural session – Nandita speaking……….another view

28-03-2024 inaugural session – Nandita speaking……….yet another view

28-03-2024 – First day proceedings: On March 28^th, the seminar was inaugurated by Prof Maruti Nandan Prasad Tiwari, Chairman, Indian Art History Congress, Professor Emeritus, Banaras Hindu University. With the introduction by Dr Nandita Krishna Director of the Institute and the traditional lighting of “Kuttuvilakku,” the seminar was started. Dr Nandita Krishna explained the theme of the seminar with examples of “minor deities.” Her booklet “Groves and Gods of Tamilnadu” was also circulated. In his hey-note address, Prof Tiwari talked about, “Minor deities and pacifying goddess of diseases – Shitala in Indian tradition and art” and his paper was circulated. Then, the invited speakers presented their papers.

28-03-2024 inaugural session – audience LHS from the podium..

28-03-2024 inaugural session – audience RHS from the podium..

op 28-03-2024 inaugural session – audience LHS from the podium..middle and backside

Sitaladevi – Prof Maruti Nandan Prasad Tiwari: Prof Tiwari explained about the Sital devi and compared it with Mariamma of South India. The “Saat Sahelis”, or “Seven Sisters or Friends,” generally depicted that included Sïtalå devi. They were ˜Sïtalå, Masånï, Basanti, Mahå Mål, Polamde, Lamkanijå, and Agwanï. Elsewhere, they are ˜Sïtalå, Phulmatï, Camariyå, Durgå Kålï, Mahå Kålï, Bhadrå Kålï and Kålikå Bhavånï. The tradition of the group of seven, with minor variations in names, was thus widespread. There is one Temple at Modhera in Gujarat. Sitala is also depicted with a twelve-armed nude figure is riding on an ass. The few surviving hands have varadåkamudrå, trisula, àamaru, pitcher, and a winnowing fan in the uppermost pair of hands. The sculptors delighted in the classical shape of the dagger, with its efficient double curvature for greater lethal effect, and gutters to drain off blood. But on the other hand, the winnowing fans and brooms, never the stock-in-trade of art, have rustic forms. The literary and inscriptional evidences point to 7th and 13th centuries CE. He concluded that the iconographic features of the goddess were standardized in the 11th century and that images mostly occur with te textual prescriptions in respect of her ass mount and the distinguishing attributes, winnowing basket, sweeping broom, and water-vessel. Though, the majority goddesses Parvti, Lakshmi, Saraswati and others are there, Sitaladevi also became popular.

For illustrative purposes, these photos are added here for understanding the topic, but, not that of the author and they are available in the public domain.

Chitra Madhavan’s Satyaki[4]: Dr. Chitra Madhavan Historian and Writer, Chennai presented he paper on “Satyaki – A lesser known deity.” The Parthasarathi Svami temple in Thiruvallikeni is one of the 108 Divya Desams, praised in the Tamil verses (Pasuram) of the Azhvars or Vaishnava saints. Pey Azhvar, Thirumazhisai Azhvar and Thirumangai Azhvar have sung about the deities enshrined inside the temple complex. It is the processional image (utsava-murti), known as Parthasarathi, from whom the temple takes its name.This east-facing deity is thus called as he is Krishna the charioteer (Sarathy) of Partha (Arjuna). The marks on his face are believed to be caused by arrows shot by the Kauravas having pierced this weaponless charioteer in the Kurukshetra war. The main image on the east side, seen with a white moustache, is worshipped as Venkatakrishnan. This two-armed deity holds the conch (Sankha) but the discus (Chakra) is not seen which is rather rare in a Vishnu image. This is because Krishna did not use weapons in this war. Inside this sanctum are five more deities namely goddess Rukmini, Krishna’s consort; Sankarshana (Balarama), Pradyumna (Krishna’s son), Aniruddha (Krishna’s grandson) and Satyaki (also called Yuyudhana, a warrior and Krishna’s friend)[5]. Yoga Narasimha, facing west, is also a main deity with a flag-post (dvajastambha) in front, just like Venkatakrishnan[6].

Satyaki in the Literature: Yuyudhana (युयुधान), better known as Satyaki (सात्यकि), was a powerful Yadava chieftain of Narayani Sena, belonging to the Vrishni clan to which Krishna also belonged. According to the Puranas, he was the grandson of Shini of the Vrishni clan, and son of Satyaka, after whom he was named. A valiant warrior, Satyaki was devoted to Krishna and was a student of Arjuna. Satyaki strongly and passionately favors the cause of the Pandavas over the Kauravas in the Kurukshetra War. Prior to the war, Satyaki accompanied Krishna to the Kuru capital, with Krishna as the Pandavas’ emissary of peace. He is a witness to Duryodhana’s attempt to arrest Krishna and Krishna’s Vishwaroopa form, though he is not mentioned as one of the few persons not blinded by the apparition. After talks break down, Satyaki leads the Sivi and Vrishni army to the Pandava’s camp. While Satyaki, along with others like Chekitana and Syenajita joins the Pandavas, Krishna promises his army to Duryodhana. Hence, Yadavas sworn directly to Dwarka like Kritvarma fight for the Kauravas, meaning Satyaki has to fight his kinsmen in the war. He provides 1 Akshauhini army to the Pandavas. During the war, Satyaki is the commander of one akshauhini of the Pandava army. According to Bhishma, he is capable of fighting 12 Atirathis alone. After the Kurukshetra war, Gandhari curses Krishna that his clan will be destroyed 36 years later in a fratricidal massacre. Accordingly, the Dwaraka clans fought with each other and killed themselves.

There is a sculpture suggesting how Satyaki protected the Pandavas, when Aswathama wanted to kill the Pandavas by sleeping at the camp of the enemies…

R.K.K. Rajarajan’s “Rare Forms of Gaṇapati”[7]: Next, Dr. R.K.K. Rajarajan  Assistant Professor in Fine Arts, Gandhigram Rural University delved upon, “Rare Forms of Gaṇapati – With Reference to Notes in Tamil ‘Bhakti’ Literature.” Mainly, he relied upon the Tamils of Tamilnadu of even recent day manipulations and tried to show how Ganapati had attracted the Tamilnadu sculptors to accommodate different form in the gopurams, side-wall depictions and wooden chariots / rathas. Treating the origin of “Pillaiyar” (whose child), he brought it under two streams  northern Sanskritic and Southern Tamil. He relies upon Asko Parpola for pointing out that the name Pillaiyar finds its root in the Central Dravidian languages of the Proto-Dravidian family. With later day and recent sculptures, he links Ganapati with Vyasa, Parasurama[8], Vygapada etc., obviously with chronological itch. Moreover, these stories were spun just 100-200 years back and have been lesser than mythologies. In newly constructed temples, the modern sculptures go on add such sculptures, just for present popularity or as per the wishes of some devotees. The illustrative sculptures taken have to be given their dates to compare such depictions are available in the Sanskrit or Tamil literature. When Upanishad mentions about the roots of Ganapati, then, antiquity has to be decided accordingly.

Technical Paper reading session: After lunch, the paper reading session started with the paper reading proceedings. The first technical session was headed by Prof. Choodamani Nandagopal, Art historian, UNESCO Fellow and Tagore National Fellow, Bengaluru. For presentation of papers, 15 minutes time was given. The following papers were presented:

1. Dr. J. Soundararajan  & Mr. K. V. Ramakrishna Rao  – “The precept, concept and evolution of “Minor Deities” in India”
2. Mrs. R. Ramya[9] – “Devmogra – Goddess of worship for Satpuda Tribal people”
3. Dr. Amrita Chakraborty – “Dikpālas: Eastern Indian Variations”
4. Dr. Ramadevi Sekhar[10]  – “Guardian of the Skies: Garuda’s Multifaceted Presence in Texts and Practices”

The Technical Session – II was held at the Main Hall in Parallel chaired by Dr. Chitra Madhavan, Historian and Writer, Chennai and the following papers were presented:

1. Mr. K. Sridharan[11]  – “Annapurani and Annamurti in Art and Temple Rituals”
2. Dr. Parthiban Rajukalidoss[12]  – “Lord of five houses in the hamlet of ten scarlet ixora: syncretism of a folk deity and its temple in Ceṭṭiyapattu, Uṭaṉkuṭi”
3. Dr. S.P. Prem Singh Muthubalan – “Mythology of Isakki Amman Worship in Southern Tamilnadu”
4. Dr. P.C. Muralidharan  – “Worship of deities Garuḍa and Sudarśana as enunciated in Śeṣasamhitā”

© K. V. Ramakrishna Rao

30-03-2024.

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[1]  About the Institute- https://cprfoundation.org/CPRIIR pamphlet-2023.pdf

[2]  About the Journal – https://cprfoundation.org/CPRIIR.html

[3] Journal of Indian History and Culture (JIHC)

• Listed in UGC – CARE (ISSN: 0975-7805) –https://cprfoundation.org/modify_new2022.png ; https://journalcpriir.com/previous-issues/

[4] Abstracts, sl.no.1; p.7.

[5] Indian Express, A Vishnu temple, unique in more ways than one, Chithra Madhavan,Updated on: 08 Feb 2017, 11:15 am.

[6] https://www.newindianexpress.com/chennai/2017/Feb/07/a-vishnu-temple-unique-in-more-ways-than-one-1568080.html

[7]  Abstracts, sl.no.6; pp.14-15

[8]  Reportedly Brahmanda Purana, it is evident that this myth resembles, Dhakshayini / Parvati story and thence, created later period, may be during medieval peiod,

[9] Abstracts, sl.no. 24; p.41

[10] Abstracts, sl.no. 23; p.39

[11] Abstracts, sl.no. 28; p.45.

[12] Abstracts, sl.no. 20; p.36.