A Note on the Matṛkā Figures from the EME Dakṣiṇa‑mārti Temple
By Maruti Nandan Prasad Tiwari, Kamal Giri
Summary
This article presents an iconographic study of the Matrka figures from the EME Dakṣiṇa-mārti Temple in Baroda, Gujarat. The authors, Maruti Nandan Prasad Tiwari and Kamal Giri, argue that these figures, which are carved as independent sculptures and date from the seventh to the twelfth century A.D., are of special iconographic significance because they include the otherwise unknown Matrkas Agneyi and Vayavi. The authors classify the figures into two groups: those with babies and those without them. They then proceed to detail the iconographic features of each figure, including Vaisnavi, Mahesvari, Brahmani, Indrani, Kaumari, Varahi, Camundi, Vayavi, and Agneyi. The authors support their analysis by referencing ancient texts, such as the Brhatsamhita, Devi-Mahatmya, Skanda Purana-Kashi Khanda, Brahmavaivarta Purana, Visnudharmottara Purana, and Ripamandana, as well as scholarly works by T. A. Gopinatha Rao, J. N. Banerjea, and Bhagwant Sahai. The authors note that while most of the figures conform to textual prescriptions regarding their distinguishing emblems and vehicles, the Varahi figures show a complete departure from these prescriptions in regard to the rendering of the boar as a mount and the Bhidevi in hand. The authors also explain that the absence of a baby in the Camundi figure is consistent with tradition, as a Matrka or Divine Mother is never visualized in a terrific form, and the rendering of the trifala and damari in the figure suggests a close resemblance with Siva.
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Conclusion
The sculptural ensemble of Matṛkā figures at the EME Dakṣiṇa‑mārti Temple in Baroda provides a crucial contribution to the iconographic study of Hindu deities. The key finding is the presence of independent, standalone sculptures of Matṛkās, including rare representations of Agneyī and Vāyavī, which are otherwise absent from the standard sculptural repertoire. The study reveals a chronological span from the seventh to the twelfth century A.D., with figures generally adhering to textual prescriptions regarding attributes, mounts, and the inclusion of babies. However, notable deviations are observed, such as the absence of a child with Camuṇḍā and a departure from traditional boar iconography for Vārāhī. These variations highlight the dynamic nature of regional artistic practices and the potential for localized interpretations of canonical texts. The temple’s collection thus serves as a significant repository for understanding the evolution and diversity of Matṛkā worship, bridging the gap between textual injunctions and actual sculptural execution in medieval Gujarat.