“Para-Shakti” or “Para-Ambika”- is the primordial mother goddess in Hindu tradition. She is depicted in many cosmic forms in literature and art of Hinduism, one of which is Devi Rajarajeshwari. Commonly known as “Lalita”- the beautiful one and “Tripurasundari”- the most beautiful woman in three realms, Rajarajeshwari (queen or Ishvari of kings or Raja) is mentioned in divine vocabulary in the pages of Brahamanda Purana, in a section called “Lalita Mahatmya” or the Glories of Lalita, where the origin of of the goddess, her celestial activities and the fruits that she bestows upon the Universe are told by Lord Hayagriva to sage Agastya.
The name Rajarajeshwari according to the Brahmanda Purana’s Lalita Sahasranama (A Thousand Names of Lalita), is one of the epithets for the goddess, to emphasize her universal sovereignty, not only over gods and goddesses, but demons, humans, and all other life forms. The Phala-shruti (fruit of listening) to the Purana narrates that kings going to battle, if they listen to the greatness of Lalita and her wars with the demons, are ever-victorious. A continued association of Devi Lalita with kingly virtues and heavenliness that makes her the protectress and sovereign of all beings, has gained the name “Rajarajeshwari” popularity, however, the names “Lalita”, “Tripurasundari” along with Rajarajeshwari refer to one, sole, supreme goddess, who is beyond Brahma-Vishnu-Shiva and a source of the powers of Sarvadevata (all gods).
This monumental Hoysala bronze statue represents the “Chintamani Griha”- an abode made of jewels and the seat of Sri Chakra (the most powerful Yantra), whose center resides goddess Lalita. Crafted as a throne made of lotus and flowers, the central image in this glistening bronze is goddess Lalita as “Chaturbahu” or four-armed, sitting in the Lalitasana pose, over a reclining Shiva. The aureole that surrounds her is a masterpiece of art, marked by motifs such as Yalis, Mayura (peacocks), and the awe-inspiring Kirtimukha on top.
Below her throne sit Brahma, Vishnu, Rudra, and Sadashiva, the four deities who are the four legs of her asana. Flanking goddess Lalita-Rajarajeshwari are Lakshmi and Saraswati, beautifully attired, holding flying whisks and serving the divine queen mother. Two extensions to the secondary platform serve as seats for Karrtikeya and Ganesha, as guards and commanders of the army of goddesses. With finesse and attention to detail, the Adi Shakti and heavenly abode are mesmerizingly brought to life in this sculpture. Radiant with the collective aura of all divinities that inhabit it, this bronze artwork serves as a riveting vision of Rajarajeshwari, who is attainable only through pure contemplation.
According to the traditions recorded in Brahmanada Purana, sage Agastya approached Lord Hayagriva to understand the nature of she who is Mool-Prakriti (the primordial nature or essence of all). Answering the queries of Agastya, Hayagriva told him the legend of Kama-Dahan (burning of the Lord of Desire) by Lord Shiva. As Kama burnt, from his ashes was born a powerful and ethereal being, called Bhandasura, who attained the benevolence of Shiva after penance and began tormenting gods. In the absence of Kama, who instilled desire and action in the Universe, the pace of creation was lost.
Gods and goddesses suffered at the hands of Bhandasura, while the beauty, youth, fertility, and charm of the three realms vanished. “Rasa” or the essence of life was nowhere to be seen. It was “Kama-Pralaya”- a deluge caused by the absence of Kama (action and desire). Gods approached Shiva to absolve them of their sufferings, but Shiva told them that though he had the power to reverse other Pralayas, a Kama-Pralaya could only be resolved by Shakti, who is the source of desire for all, including Shiva.
Gods, led by Shiva performed a great sacrifice for the great goddess, and from its Agni or fire emerged the goddess as Kameshwari, the embodiment of desire. Her unparalleled beauty earned her the name “Lalita” and in her regalia, she was revered as “Rajarajeshwari”. Kameshwari took a male from her form, named Kameshwara, who was married and crowned with Devi Lalita as the supreme female-male divinity. The celestial beauty of Lalita was ornamented by a crown of Agni (fire), earrings of the Sun and Moon, and jewelry made from gems offered by Sagara (the ocean king). From the body of Lalita were born Brahma-Saraswati, Vishnu-Lakshmi, and Shiva-Parvati (as forms of Purusha and Prakriti, the ultimate male and female principles) who restarted the cycle of creation in the Universe. Her boon also brought Kama to life and Durga, emerging from the brow of Lalita annihilated Bhandasura, thus bringing the drought of desire to an end.
A visual narration of the grandeur of she who is desire (Moha) and its end (Mohanashini), this bronze succeeds in representing Lalita-Tripurasundari (Rajarajeshwari). Lustrous, youthful, and brimming with life, Lalita and her divine retinue are an ode to the majesty of Jagaddhatri (she who births the Universe, one of the names of Lalita-Rajarajeshwari).
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