Introduction
In Vedic tradition, the divine beings are called “Deva / Devi” and they are always worshiped in pairs. Both masculine & feminine aspects of divinity are equally observed in the cosmic affairs and hence are worshiped in pairs. The native societies had always embraced such pluralist ideals of Vedas which is evident from the Vedic & classical Sanskrit literature.
Over time, the native societies were invaded by turks, mughals…etc which turned them into a protectionist society and a patriarchal system gained traction as a result. This caused the society to heavily focus on masculine aspect of divinity and the feminine aspect fell back. This social phenomena was a reaction to the atrocities of the invaders which consequently dominated the social narratives and post-classical Sanskrit literature.
In the western academia, Vedic tradition itself is viewed as patriarchal and some scholars (like Wendy Doniger) suggest its extreme form to include systematic & institutionalized oppression of women (Read “The Hindus”). This view conveniently ignores the social phenomenon of protectionism caused by invader’s atrocities. Sadly, this idea is borrowed by the majority of Indian scholars and hence, the said view of native society has become the mainstream in the Indian academia.
However, if one studies the Vedic scriptures & classical Sanskrit literature as a whole without the said Western bias, one will find that masculinity and femininity played an equal role in the Vedic tradition.
Rigveda, which is the core of the entire Vedic tradition displays a huge array of pluralist ideals including worship of divine femininity.
Vedic Tribe is happy to bring you this introductory series on the three chosen divine femininity in Rigveda: Laxmi (companion of Vishnu), Saraswati (companion of Virinchi) and Bharati (companion of Prana).
Our intention is to create enough curiosity in you to study Vedic literature and defend the same from the incorrect views prevalent in the society.
All the best
Madhwesh K
Vedic Tribe
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1. Laxmi
In Rigveda, the term "Lakshmi" is used to indicate auspicious fortune (10.71.2). Its 10th mandal's 125th Sukta is called "Ambrini Sukta" and is exclusively dedicated to "Lakshmi" (see Paingi Shruti).
In Vedic literature, Lakshmi is regularly called "Sri" and Aurobindo suggests that it indicates illumination of the divine truth. She is the consort of Lord Vishnu (the super consciousness transcending this creation).
"Sri Sukta", another sukta dedicated to "Lakshmi" is found as part of Rigveda's appendices and hence is one of the prominent "khila-sukta".
"Saubhagya Laxmi Upanishad '' is one of the minor Upanishads dedicated to "Lakshmi '' and is one of the key texts to identify Rishis & Chandas of Sri Sukta.
"Lakshmi Tantra" is one of the Vaishnava-Agama texts which elaborately explains methods of worshipping "Lakshmi".
In Sri Vaishnava tradition, the only female Alvar (tamil poet saint) - "Andal" is considered an incarnation of "Laxmi". Tiruppavai & Nachiyar Tirumoli which are the prominent texts in this tradition - were composed by "Andal".
If you are interested to know more you may read "A Simple Guide to Mahalakshmi/ Lakshmi Devi Worship" by G R Narasimhan.
In the next write-up we will discuss "Saraswati".
Madhwesh K
Vedic Tribe
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2. Saraswati
In Rigveda, the term "Saraswati" indicates divine speech and in Puranas she appears as the consort of Virinchi (the oldest consciousness within this creation). The 61st Sukta of 6th Manda of Rigveda is dedicated to “Saraswati”.
Aurobindo suggests that "Saraswati" indicates the inspiration that comes down to us from Rtam i.e., the truth in action. (See 110th Sukta in 10th Mandala of Rigveda). Tattiriya Brahmana (of Krishna-Yajurveda) identifies “Saraswati” with speech & music. Mahabharata calls “Saraswati” as the goddess of primordial symphony in cosmic affairs.
Devi Upanishad presents “Saraswati” as one of the prominent form of “Devi / Shakti”.
“Saraswati” appears in many feminine trinity in Vedic literature as “Ila-Saraswati-Bharati”, “Laxmi-Saraswaswati-Parvati”, “Mahalaxmi-Saraswati-Mahakali”...etc.
The ancient river of the subcontinent "Saraswati" dominates Vedic literature and is heavily relied upon by the scholars to date the Vedic period. This has been key in identifying the native Harappan culture as Vedic culture and thereby debunking the notorious Aryan invasion / migration theory (which claims that Vedic people invaded the / migrated to the subcontinent).
If you are interested to know more, you may read the article "Rigvedic Saraswati: Myth and Reality" published by Mr. Ashoke Mukherjee in the journal of Breakthrough Science Society (Vol.9, No.1, January 2001).
In the next write-up we will discuss "Bharati".
Madhwesh K
Vedic Tribe
—
3. Bharati
In Sanskrit the term "Bharati" indicates indulgence in the divine bliss. In Rigveda, she appears in a feminine trinity as “Ila-Saraswati-Bharati”.
Though both Laxmi and Saraswati are also called "Bharati" in Vedic literature, the goddess "Bharati" is the consort of Prana (highest conscious being within the present creation) in the divine order consciousness.
Sri Madhwacharya has clarified in his Mahabharata Tatparya Nirnaya (based on Narada Purana & Vayu Purana), that "Draupadi" is the manifestation of female Goddesses: Bharati (consort of Prana), Shyamala (consort of Dharma), Shachi (consort of Indra) and Usha (consort of Ashwins).
In the tradition of Sri Madhwacharya, prayer to Goddess Bharti is an essential part of daily worship.
In contemporary lore, Bharata-mata (mother India) is associated with goddess Bharati.
If you are interested to know more, you may read "River and Goddess worship in India" by R.U.S Prasad.
Vedic Tribe is happy to have brought you this introductory series on three chosen divine femininity in Rigveda.
Our intention is to create enough curiosity in you to study Vedic literature and defend the same from the incorrect views prevalent in the society.
All the best
Madhwesh K
Vedic Tribe
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