Maa Durga: Weapons and Iconography

 Mythology: Origin story & Chandi Path

The Srimat Devi Bhagawatam, also known as the Devi Puran, a sub-Purana attributed to the Shiva Mahapurana, depicts the story of the “birth” and achievement of Devi Durga. The word Durga and related terms appear in the Vedic literature, such as in the Rigveda hymns 4.28, 5.34, 8.27, 8.47, 8.93 and 10.127, and in sections 10.1 and 12.4 of the Atharvaveda. A deity named Durge appears in section 10.1. 7 of the Taittiriya Aranyaka. But the most famous depiction detailed in mythology about the goddess comes from thirteen chapters of the Devi Mahatmya of the Markandeya Purana. It is also famously known as the Chandi Path, which is mainly referred to by the Bengalis for Durga Pujo. 

Though the Chandi Path starts from Madhu and Kaitava’s birth from Vishnu’s sleeping body and finally being slain, we will focus on the story of Durga. Parvati’s association with this particular form of iconography comes from the story of Shumbha and Nishumbha, two Asura brothers who start fighting over her after spotting her beauty. She slayed them both and happened to also slay Chanda and Munda, two lesser-known demons who attacked her. After slaying them, she comes to be known as Devi Chamunda and later slays Raktabeej as Devi Kali.

The story of Mahishashura Mardini, however, starts with Mahishashura, who pleased Lord Brahma, the creator god of the Trinity, with his penance and asked for a boon that no man, animal or god could ever kill him. Lord Brahma, who is also known for his boons, granted him this wish. Knowing he was now invincible, the King of the Asuras attacked the three realms, Swarga (Heaven), Marta (Earth) and Patal (Underworld). He insulted the Devas and drove them out of Indralok (the land of Dev Raja Indra). The helpless Devas then turned to the Trinity Brahma, Vishnu and Shiva for help. Brahma had given Mahishashura the boon that no man could kill him. However, the Devas, after much speculation, came to the conclusion that it could indeed be a woman. The Trinity hence “created” Devi Durga to slay Mahishashura’s ego. The Devas gave her different Astras or weapons to help her kill the Asura king. She, in Bengali iconography, hence has ten hands, each of which holds or represents a form of Shakti or weapon. The interesting thing to be noted in the stotras is that she is not associated with Parvati as is a common idea, and is repeatedly referred to as being made by the Trinity to kill Mahishahur.

Weapons:

In the next segment, we are going to talk about how Devi Durga is prepared to face Mahishashura according to the Chandi Path. The Bengali version of the Chandi Path, which has been popularised by Birendra Krishna Bhadra’s iconic radio presentation “Mahishashur Mardini” since 1931, has the following lines, which I have translated below.

“দেবী সজ্জিত হলেন রণচণ্ডী মূর্তিতে। 

The Devi is now adorned in the RanoChandi (warrior) attire.

হিমাচল দিলেন সিংহবাহন 

Himachal gave Lion as Bahan (ride).

বিষ্ণু দিলেন চক্র 

Vishnu gave the Chakra (Sudarshan disk)

পিনাকপাণি শঙ্কর দিলেন শূল 

Pinakpani Shankar (Shiva) gave Shul (Trident/Trishul)

যম দিলেন তাঁর দন্ড

Yam gave his Dando (Mace)

কালদেব সুতীক্ষ্ণ খড়্গ 

Kaldev (Shani), his sharp Khargo (a type of sword or hook)

চন্দ্র অষ্টচন্দ্র শোভা চর্ম দিলেন 

Chandra gave Ashtchandra Sobha Charmo (a type of shield as bright as the moon)

ধনুর্বাণ দিলেন সূর্য 

Surya gave Dhanurban (Bow and Arrow)

বিশ্বকর্মা অভেদবর্ম 

Vishwakarma Abhedvarma (armour)

ব্রহ্মা দিলেন অক্ষমালা কমণ্ডলু 

Brahma gave Akshamala Kamandul (a rosary and a water pot with a handle)

কুবের রত্নহার। 

Kuber Ratnahaar (gem-studded neckpiece)

সকল দেবতারা মহাদেবীকে নানা অলংকারে অলংকৃত ও বিবিধপ্রহরণে সুসজ্জিত করে অসুরবিজয় যাত্রায় যেতে প্রার্থনা করলেন। 

All the Devas gave the Mahadevi different weapons and dressed her up before praying for her victorious journey.

রণদুন্দুভিধ্বনিতে বিশ্বসংসার নিনাদিত হতে লাগল। 

The three realms were echoing with a war cry.

যাত্রার পূর্বে সুর-নরলোকবাসী সকলেই দশপ্রহরণধারিণী দশভুজা মহাশক্তিকে ধ্যানমন্ত্রে করলেন অভিবন্দনা। 

Everyone from the Earth and the heavens prayed to the Dashapraharanodharini Dashabhuja (one with the ten hands holding ten kinds of weapons) before she left for war.

This worship itself is the festival of Durga Puja as we know it now. Note here that the verses themselves mention there were more weapons given to her than mentioned. Also, the metaphorical meanings of the weapons, as you may find in various posts, were made up much later. The actual stotra doesn't indicate anything as such. At first, Mahishashura didn’t take her seriously as he thought he was immortal, but the Devi challenged him to war. Mahishashura could change his forms, and when the Devi attacked and destroyed his army, he kept changing his forms to get away from her. He changed forms from elephant to lion to buffalo, and the Devi was struggling to catch him. The Devi, along with the lion, attacked Mahishashur right when he was changing form, from a buffalo to a human, and she struck his chest with the Trident of Lord Shiva. He was later beheaded by her. After that, she decided to return to the peaceful Earth in celebration. 

Iconography:

Once she is on Earth after her victory against Mahishasur, the humans decide to thank her in a grand celebration and hence worship her idol. Here, we must note (and I am sure many of you who go pandal hopping during Durga Pujo must have) that the idols have different Ashtras or weapons that are placed in different orders on the Goddesses. However, like all other specified forms of worship, the Bengali Durga too has a traditional form. As depicted in the Chandi Path itself,

ত্রিশূলং দক্ষিণে ধ্যেয়ং খড়্গং চক্রং ক্রমাদধঃ ।।

She holds the Trishul in her right hand (Dakshin), then the Khargo and Chakra in that order.

তীক্ষ্ণবাণং তথা শক্তিং দক্ষিণেষু বিচিন্তয়েৎ।

Then comes the sharp arrow and the power (Shakti) [probably depicted by the Kamandul]

খেটকং পূর্ণচাপঞ্চ পাশমঙ্কুশমেব চ ।

Devi’s left hand has the Shield (Khetak shield given by Chandra), Bow (Punashpanch), Pash (Nagpash), Hook or danda (Ankush) 

ঘন্টাং বা পরশুং বাপি বামতঃ সন্নিবেশয়েৎ ।।

and the Bell (Ghanta) or (the stotra itself gives an option here) the axe of Parashuram, 

অধস্তানন্মহিষং তদ্বদ্বিশিরষ্কং প্রদর্শয়েৎ।।

রক্তারক্তীকৃতাঙ্গঞ্চ রক্তবিস্ফুরিতেক্ষণম্‌ ।

বেষ্টিতং নাগপাশেন ভ্রূকুটি-ভীষণাননম্‌ ।।

Below her feet, Mahishashur is seen coming out of a Buffalo, 

The Devi is about to behead him as blood soaks his body and his eyes are red.

The Devi with a frowning angry face is capturing the Asura in Nagpash.

কিঞ্চিদুর্দ্ধং তথা বামমঙ্গুষ্ঠং মহিষোপরি ।

দেব্যাস্তু দক্ষিণং পাদং সমং সিংহোপরি স্থিতম্‌ ।।

Devi’s left foot is slightly raised, with only her thumb touching Mahishashur’s body lying on her left side,

While her right foot is on top of the Lion.

Interestingly, in these Stotras, we find additional weapons which, from other sources, we come to know, were given to her by other gods. Lord Parashurama, an avatar of  Lord Vishnu and a devotee of Shiva, gave her his Kuthaar (axe), while Shani’s weapon is referred to here as Ankush or hook. The conch shell often found in her hands is believed to be given by Varuna, the water god, while Indra, the King of Devas, gave her his Vajra (thunderbolt). The bell is given to her by Indra’s Bahan Airavaat, the king of elephants, and the lotus, also sometimes found in her hand as a symbol of purity, is said to be given by Brahma. The Nagapash, often shown in different versions to have captured Mahishashura, was given by Sheshnag, the king of serpents. It is often depicted in her hand as a snake. We find more or less all these weapons in her hands in the various idols we find; however, the Stotra specifies only the above-mentioned weapons in order of their existence in her hands.

Also to note here is that, nowhere in her iconography is it mentioned that she comes to celebrate with her children or Lord Shiva's reaction to it. The association of Durga with Adi Shakti is clear, but that of Parvati is not so in the texts. If we go by Hindu mythology, Adi Shakti and Parvati may be used as synonyms, but are not the same. The popular and now in-use representation of Uma coming home with her children started in Medieval India when Durga Puja started being conducted in Royal and Zamindar households. The need to present her fiery expression as a mellowed-down smiling face blessing the devotees, with her four children following her, is a representation of a Mother. Perhaps, like some scholars suggest, the need to do away with the fiery, rebellious image of a woman like Durga has to do with the social idea of an ideal woman back in those times, while Durga is indeed just the opposite, one who is not bound down by norms. Some mythologists also think that it is because the fiery side was worshipped "outside the house" by dacoits and rebels, and tribals worshipped her Chamunda "avatar"; it was indeed needed to make a clear distinction from that to a peaceful Gauri blessing her devotees in a home that sought peace and prosperity. Whatever the reason might have been, Durga Puja gradually emerged, with its stories and social reflections, into what it is today.

Folklores:

In popular Bengali culture, there are a lot of stories that are related to Durga Puja. Bengal sees a lot of rainfall, cyclones and prolonged monsoons in general. Before Durga Puja, there are always chances of thunderstorms. It is told in popular folklore that it is when she sheds tears before leaving Kailash and coming home with her sons and daughters. The thunder rolling is, in fact, Lord Shiva, who is so possessive of his family that he doesn’t want them to come alone. Some might argue that this is again a reflection of the patriarchal need to show the goddess of power as a mother and submissive wife. But the Shiva Purana clearly depicts Shiva bowing to her time and again, and respecting her even in their differences, be it as Sati, Parvati or Kali (whom he stops by lying on her feet). The folklore further continues that Lord Shiva is jealous of the merriment humans do to welcome their daughter Uma home. So he follows them in disguise behind their rides and is hence depicted above the Chalchitra of the Goddess as watching over the festivities without attending them himself. All these stories, from the nooks and corners of the culture, make Durga Puja an intriguing festival.

Vahanas/ Rides of the Debi:

Another popular and fascinating story related to Maa Durga’s homecoming is, in fact, that of her vahanas. According to the Vishudh Siddhanto Panjika, which was first published in 1890, the day of arrival of Maa Durga (on Saptami) and departure (Dashami) predicts the year ahead depending on the ride she uses. 

Elephant: If she arrives or departs on Sunday or Monday (i.e. Saptami or Dashami is on these days), the goddess comes or leaves on the elephant. It is considered the most auspicious. It is said that if she comes on the elephant, she brings agricultural profits and greenery with her, as it is the most peaceful mode of transport and is considered an indicator of prosperity, as it brings plenty of rainfall for bumper harvesting. ( Shasho Syamola Bosundhora)

Boat: If she arrives or departs on a Wednesday, it means she is sailing on a boat (Nouko). Coming by boat signifies natural gifts like a good harvest and rainfall; departure on a boat indicates rainfall and flooding, which can result in loss of harvest as well.

Horse: If the arrival or departure is on Tuesday or Saturday, she rides the horse. Both arrival and departure by horse are inauspicious, as they signify devastation, as was the case in the early days after any war. It signifies destruction and devastation.

Palanquin: If the arrival or departure is on Thursday or Friday, she uses the palanquin (Dola). Arrival and departure on a palki (palanquin) spells a widespread epidemic.