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Kuṇṇāthamman: Transformation of Sapta-mātrikas

By G.B. Balaji

Vol. 27December 2020pp. 70–82English
Iconography AnalysisCultural Transformation

Summary

The Kuṇṇāthamman temple in Chennai, dedicated to a local family deity, reflects the transformation of the Sapta-mātrikas cult from folk traditions to orthodox Hinduism. The deity, originally a folk goddess, is now worshipped as a Tantric figure with iconography linked to the Sapta-mātrikas, particularly Cāmuṇdī. The temple, located near MGR Central Railway Station, features a granite statue of Kuṇṇāthamman, depicted as an eight-armed warrior goddess seated in lalithasana, adorned with a silver kavaca and holding weapons. Her iconography aligns with descriptions of Cāmuṇdī, one of the seven divine mothers, who emerged from Parvati during the battle against Asuras. The Sapta-mātrikas, originating from Puranic myths, were initially associated with destroying Asuras but later integrated into mainstream Hinduism as protectors. In Tamil Nadu, they are known as Ezhu Kannimar or Sapta-matargal, worshipped individually or collectively. The temple’s architecture and rituals, maintained by non-Brahmin priests for generations, highlight its folk roots, while inscriptions and historical records trace the cult’s spread from the Chalukyan region to Tamil Nadu. The study connects Kuṇṇāthamman to broader Mātrika worship, noting her role as a protector and her evolution from a local deity to a recognized Tantric figure in urban settings.

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Conclusion

This study explores the transformation of Sapta-mātrikas iconography through the lens of Kuṇṇāthamman’s sculpture in Chennai, revealing how folk deities like Selliyamman or Pidariamman evolved into protectors like Kuṇṇāthamman, blending Tantric and regional traditions. The analysis of her iconography—eight arms, weapons, and lalithasana posture—aligns her with the Mahabharata’s Cāmuṇdī, a Matrika linked to Durga’s power. The temple’s architectural simplicity, non-Brahmin priesthood, and urban setting highlight the democratization of worship, sustaining ancient practices amid modernity. The study underscores the Matrikas’ adaptability, from early Indus Valley symbols to localized urban deities, bridging orthodox and folk traditions while maintaining protective roles against evil.

Key passages

Chosen by AI from the article's text. Each one is checked word for word against the text before it is shown.

  • “As believed by many scholars, these deities are of folk nature and later on amalgamated in the orthodox Hindu pantheon as Tantric deities.”
  • “Hence, we conclude that ferocious blood thirsty Mātrikas are all amalgamated into a single image and worshipped in a pacified manner as Kuṇṇāthamman in this shrine.”
  • “According to Leslie C. Orr, the Sapta-mātrikas, who first appeared in south India in the eighth century had temples dedicated exclusively to them, but from the ninth century onwards, they were demoted to the status of “deities of the entourage” ( parivara devata ) of Shiva.”

Works cited in this article

  1. Gopinatha Rao, T.A., Elements of Hindu Iconography , Motilal Banarsidass, Delhi, 1985, pp. 379-381.
  2. Banerjea, J.N., The Development of Hindu Iconography , University of Calcutta, 1956, pp. 504-505.
  3. Jagdish Narain Tiwari, “ Studies in Goddess Cults in Northern India, with reference to the First Seven Centuries AD ” pp. 215-244.
  4. Dilip Chakravati, Archaeology and World Religion by Timothy Insoll , 2001, Routledge, pp. 42-44.
  5. Kinsley, David (1998) [1988]. Hindu Goddesses: Vision of the Divine Feminine in the Hindu Religious Traditions . Motilal Banarsidass, p. 151

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In this issue

Vol. 27
7–8JIHC 2021: Pan-India Themes and Seniority-Based SelectionNanditha C. Krishna, M. N. Rajesh, S. Ananthakrishnan9–29Antiquities from Sangam Age Sites: Minor Chieftains' Cultural ImpactS. Vasanthi30–48Widowhood and Property Rights in Early India: A Study of Dharmasutras and DharmasastrasPunit Research Scholar, Benudhar P. Patra49–55Folk Dance and Drama During the Cankam AgeJ. Sumathi56–69Litany of Avalokitesvara in Western Deccan Sculptural ArtNeeraj Kumar Mishra70–82Kuṇṇāthamman: Transformation of Sapta-mātrikasG.B. BalajiCurrent article83–91Vaidyanatha Dhama: Sacred Jyotirlinga, Myths, and Healing Legacy in JharkhandS. N. Arya92–106Brahmanical Influence on Dārikavadham Folklore in Kerala: A Comparative Study of Kaḷaṃezhuthu and KiḷippaṭṭuSreelakshmi Radhakrishnan107–125Jainism's Historical Roots and Contemporary Presence in GujaratSonam Soni126–147Tablighi Jama’at's Impact on Meo Community in Mewat: Resistance and ReconciliationAltaf Hussain148–171Agrarian Reforms and Social Stratification in Kashmir (1925-1947)Shabir Ahmad Sheikh172–189British Colonial Agriculture in Assam: Revenue Policies and Agrarian TransformationJaysagar Wary, Bijit Brahma190–203Itinerant Communities and Deccan Culture: A Case of PerikasAnjaiah204–221Social History: Method, Perspectives, and Challenges in Indian ContextsRahul Jambhulkar222–241Zomia Concept in Tibetan Hills and Indian HimalayasM. N. Rajesh242–278Re-imagining Tulsidas: Legacy and TransformationSanskriti Huckoo279–294Socio-Cultural Transformation Among the Oraon Tribe in Post-Colonial OdishaReshma Ekka295–309Social Life and Cultural Practices of the Kurichchan Tribes in Dharmapuri DistrictC. Chandrasekar310–326Traditional Medicinal Plant Practices of the Bodo PeopleOinam Ranjit Singh, Bardwi Chila Narzary327–339Historical Millet Use in Tamil Nadu: Disuse and ResurgenceS. Manohar, Poongodi Vijayakumar340–343Indraprastha: Delhi's Ancient Mahabharata-Era History UnveiledB. B. Lal344–349Divine Sounds from the Heart: Women Bhaktas in the Bhakti MovementRekha Pande350–354Nationalism in Ancient Indian History: Reassessing Scholarly ContributionsDilip K. Chakrabarthy

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