While exploring ancient temples, one often comes across the sculptures of Shiva with Parvati. The sculpture is called as Uma-Maheshwara.
Uma–Maheshvara, the divine couple of Shiva and Parvati, is a very commonly found sculpture in Hindu iconography. It features the two principal Hindu deities in a loving and youthful form. It is one of the panchavimshatimurti (twenty-five forms of Shiva in Hindu iconography), as has been described in the Agamas, particularly in the Shaiva Siddhanta tracts of Southern India, and in the Silpa texts.
The Uma–Maheshvara images are found in the Garbhgriha of several temples, and also on the temple walls and pillars. Many of the sculptures also appear in museum collections and private collections. Images of Uma Maheshwara exist as paintings and sculptures made out of various materials that represent the potent symbol of the two deities. The sculptures can also be seen in many neighboring countries.
Santana or Hindu religion has always been a polytheist religion. Because of this, there were multiple sects in Hinduism. Three most popular among these are Shaiva (those who worship Shiva as supreme deity), Vaishnav (those who worship Vishnu as the supreme one) and Shakta (those who worship Shakti or goddess as the supreme being). Along with these, there are also sects dedicated to other deities like Surya, Ganesha, Bramha, Kartikeya etc. While there are many sects, they co-existed peacefully. So much so that the deities often find place in temples of other sects.
We have Harihar where Shiva and Vishnu are together, we see Lakshmi and Vishnu together, we see Surya Shiva or Surya Vishnu too. Similarly, here we see Shiva and Shakti being depicted together. Uma–Maheshvara symbolises the union of the supreme Shiva with his consort, the elemental feminine cosmic energy, the supreme goddess Uma. Shiva is a manifestation of the Purusha, while Uma, as the goddess, represents Prakriti. This divine union of Purusha and Prakriti, the male and the female forms, results in srishti, or procreation, and maintains the constant cycle of creation and balance.
Uma, literally means light. Uma is said to be a form of Shakti. After Sati immersed herself into the sacrificial fire, she is said to have reborn as Uma. Uma is the one who comforted the angry Shiva and maintained the procreative balance of the universe. Thus, Uma is also like the caring mother goodess of the earth. Her story finds a mention in the Kena Upnishad. In Nepal and Combodia, she is described as a powerful and divine deity in her own right. In parts of Bengal and Assam, she is described as the daughter of the Mountain, Himavat. In some cultures, she is also worshipped as a mountain goddess.
The iconography of depicting Uma-Maheshwara varies widely over time and region. The Uma–Maheshwara image can also be found in the Shaiva sculptures and coins from Mathura, with the earliest depiction of Shiva–Parvati on a gold coin issued by Huvishka, the Kusana Emperor. The Uma-Maheshwara depiction can be seen in temples built by almost every dynasty there-after. And the iconographical feature kept changing heavily in all of these. But one common theme is that all of them exude a certain warmth, youthfulness and beauty of the couple. Apart from Shiva, no other male deity in early Indian iconography have been depicted with their spouses.
Shiva and Uma are often represented sitting face to face or what is called the sammukha mudra. They can also be seen in various postures connoting love and desire such as embracing each other in the alingana pose. Shiva in some representations touches and caresses Uma’s breasts, or holds her in his lap, in what is called the kuca-sparsa pose, and the atikarohana form respectively. In the cibukothhapana pose, Shiva holds Uma’s chin, and looks into her shy gaze.
The images are usually shown seated over a throne, and their respective mounts, Shiva’s bull, and Uma’s lion, are shown crouched beneath the throne, with the pendant legs of each deity kept above their respective vahanas. The sculptures are richly decorated, and the couple are shown wearing heavy jewelry, intricately weaved garments, etc. In many sculptures, their children Ganesha and Kartikeya are also depicted, together or separately both ways.
Gauri, one of the forms of Parvati, the consort of Mahadev Shiva, is said to have performed a penance while standing on a monitor lizard. She is described as ‘godhasana bhavet gauri’. It can be translated as, ‘Parvati is known as Gauri, when she performs penance standing on a monitor lizard, godha’. In Sanskrit, monitor lizard is called godha. Here the root verb is ‘gudha’, which means to wrap up, to envelope, or to conceal. This is why, In the sculptures found in South India, monitor lizard is sometimes shown to be the carrier vehicle of goddess Parvati.
The Uma–Maheshvara figures can be classified into different types and sub-types on the basis of their diverse styles and subjects. Besides the poses outlined above, the type of the throne can be also used as a category for classification. On this basis, the images vary depending on where Shiva and Parvati are seated, whether under a tree; on a lotus-grove; on a Shiva linga; on Nandi, the bull; or on Mount Kailash being carried by Ravana on his head as in the Ravananugraha. Images also include Shiva and Parvati with baby Skanda on Parvati’s lap; and Ganga rushing towards Shiva’s matted hair as the divine couple are seated.
Uma Maheshwara are worshipped wherever the sculptures exist. But there aren’t many special temples dedicated to Uma-Maheshwara. There is one ritual associated with them though. Devotees observe a fast on the day of the Bhadrapada Purnima. It is dedicated to the divine couple, and is known as the Uma–Maheshvara Vrata. It originates from a story in the Matsya Purana, where Indra incurs Durvasa’s wrath for placing a garland, that the sage had gifted, on Airavata, instead of putting it around his neck. Durvasa’s curse entailed that the devas would lose their dominion. According to the legend, he maintained a fast dedicated to Uma–Maheshvara. People still observe it today for familial bliss, domestic happiness, while young newly-wedded couples do so for purposes of reproduction.
Dr Hima Bindu Kanoj