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The original concept of Saraswati was that of a feminine water
deity. Over a period of time, this riverine goddess came to be
associated with all coursing and flowing energies and forces. Today,
Saraswati is hailed as the patron goddess for the thought process and
all creative arts.
The Hindu religion or
Sanatana Dharama, as it is called, recognizes a Supreme
Godhead (Paramatma) who is omniscient, omnipresent and
omnipotent. This supreme being performs three essential functions of
creation (shrishti), sustenance (samrakshana) and
annihilation (samhara) in relation to this universe and
beyond. In his personalized manifestation, this Godhead assumes the
triple forms of Brahma, the Lord of Creation, Vishnu or Narayana, the
Lord of sustenance and Rudra or Shiva, the Lord of Annihilation.
These three entities comprise the Trimurtis or the Holy Hindu
Trinity. Each of these three gods has been associated with a consort
or female aspect who provides the requisite support and energy to the
respective Godhead in the discharge of his ordained functions. The
Vedas which are the most ancient of the Hindu religious
scriptures, postulate that Goddess Saraswati is the consort of
Creator God Brahma.
The word Saraswati is of
Sanskritic origin and etymologically, it denotes a person or being of
the feminine gender. This name has different connotations which, in
the final analysis, are all related with water bodies such as stream
and river (sarit) and lake and pool (saras). In a
figurative manner, all things that are fluid or free-flowing in
nature have had their associations with Saraswati.
References to a river
bearing the name Saraswati could be found in the Vedas and
other Hindu scriptures of yore. The Rig Veda says that the
River Saraswati originated in the Himalayas, flowed westwards and
joined the Arabian Sea. At Prayag—modern day Allahabad—in
Uttar Pradesh, the rivers Ganga and Yamuna are believed to be joined
by a third river called Saraswati, which is invisible. Hindu
faithfuls take the name of Saraswati, in addition to the Ganga and
Yamuna, while they take a dip in any river held sacred by them.
Thus, it can be inferred that the name Saraswati in itself has a
purificatory significance.
As per Vedic lore, Goddess Saraswati
manifested herself from the mouth-or tongue to be precise—of
Lord Brahma. Having been bewitched by her beauty and grace, and
impressed by her divine attributes, the Creator God decreed that
Saraswati should become his consort and provide him assistance in his
task of creation. Since Brahma was responsible for the creation of
Saraswati, he was by logic her father. His act of marrying Goddess
Saraswati was, therefore, regarded as a transgression of accepted
norms of behavior and so Vishnu and Shiva uttered a curse that
henceforth Brahma would cease to be worshipped as a God by faithfuls.
Even to this day, this curse seems to be holding true since there are
only a few temples dedicated exclusively to Brahma, whereas there are
hundreds of thousands of temples and shrines dedicated to Vishnu and
Shiva. In this background, Goddess Saraswati traditionally has come
to be worshipped in her individual capacity as the patron goddess for
all knowledge and wisdom without her being associated with Brahma.
Idols of Goddess Saraswati are installed in temples and shrines
dedicated to her exclusively or sometimes find a place with other
gods and goddesses of the Hindu pantheon in Vishnu, Devi and Shiva
temples. Such temples are more in number in the southern and eastern
parts of the country.
In the states of Tamil Nadu, Karnataka,
Andhra Pradesh, Kerala, Rajasthan, West Bengal, Madhya Pradesh, Uttar
Pradesh and the union territory of Pondicherry skilled craftsmen have
been making beautiful icons of Saraswati since generations. Around
the festival of Durga Puja in October, innumerable craftsmen move out
from West Bengal to different parts of the country and display their
artistry in making clay images of Saraswati and other deities that
are ceremonially installed in the pavilions erected for the
celebrations.
Saraswati worship spread during the
medieval period from the Indian sub-continent to many south and east
Asian countries. Several references to the Goddess can be evidenced
in the local traditions and literature of those countries. Even
sculptures and graphic representations of Saraswati have been
identified in some of those countries, notably in Sri Lanka,
Thailand, Cambodia and Indonesia. Hinduism apart, Buddhism and
Jainism have also accorded an honoured place to Saraswati. In modern
times, wherever Indians have gone, they have carried the Saraswati
lore and erected shrines for her worship.
The term Saraswati, besides referring
to the goddess also stands as an appellation to the names of sanyasis
(religious pontiffs or recluses) of the Advaitic (non-dual)
religio-philosophic order. A sect of Hindu Brahmans in the western
and northern parts of India go by the name of Saraswat Brahmans.
Eminent poets and litterateurs are addressed as Bharatis by
virtue of their scholarship, literary accomplishments or poetical
ability which are all deemed to be the gifts of the goddess. A state
level award instituted for the recognition of excellence in
literature, fine arts and writing goes by the name Saraswati Samman.
Trophies given to scholars, eminent artistes and craftsmen sometimes
have the Saraswati motif or connotation. All in all, Saraswati
dominates the entire scholastic, literary, cultural and aesthetic
domains.
In the field of Indian classical music,
the Carnatic system has accorded due importance to Goddess Saraswati
who is the patron deity for music and dance. Innumerable musical
compositions dedicated to the goddess can be identified in both
Hindustani and Carnatic systems of music. Saraswati Vandana or
invocation of the goddess forms an essential part of dance recitals.
Saraswati is generally depicted in
sculptures, icons and graphic representations either as seated on an
ornate pedestal or standing on a fully blossomed white lotus. She is
shown wearing a jeweled crown over her head and bedecked with
resplendent pearl ornaments. Her face is said to resemble the full
moon with a smile on it. She is fair complexioned and possesses four
arms signifying her divine attributes. Her raiment is of white silk.
She holds a stringed instrument, the veena, diagonally across her
chest. In another arm she holds a palm leaf manuscript—the book
of knowledge. Her fourth arm displays a rosary. The goddess radiates
feminine beauty, grace and beatitude. Seen near her feet it the white
swan which is her mount. In some depictions, instead of the swan, the
colourful Indian peacock is shown standing at her feet. Likewise, in
some pictorial representations, Saraswati is shown holding a pitcher
containing holy water instead of a rosary. These symbols have been
explained in esoteric texts as possessing philosophical connotations.
The lotus, white swan, pearls and pitcher symbolize association of
Saraswati with water. The colour white which predominates her
personage alludes to purity, tranquility and equanimity. The
manuscript held in her arm is symbolic of knowledge and intellectual
excellence.
For the traditional worship of
Saraswati elaborate rituals, supported by Vedic incantations, have
been prescribed. While these are observed even today, the average
householder installs an image, icon or pictorial reproduction of the
goddess in a corner of his home and performs the rituals. Generally
he recites verses in Sanskrit or in his own mother tongue, makes
votive offerings and circumambulating it before the icon. He prays
for the atonement of sins and then shares the votive offerings with
members of his family. On festive occasions more elaborate worship is
done and numerous delicacies are prepared by the housewife. The fare
offered and blessed by the deity is partaken of as prasadam
(benedictory meal).
Saraswati worship is done round the
year. But certain specified periods of the Hindu calendar are
regarded as especially propitious for her worship. Basant
Panchami which is the fifth day of the fortnight following the
new moon occurring during spring (basant), generally in the
month of March or late February, is observed as the day dedicated to
the goddess. On this day young men and women dressed in yellow attire
and adorned with flower garlands congregate and sing verses in praise
of the goddess’ consecrated idol. The best part of the day is
spent in music and dance and exchange of greetings. In West Bengal,
the Nobel laureate, Rabindranath Tagore had organized such
celebrations at Shantiniketan near Calcutta. The tradition started by
him continues to this day. Wherever there are large concentrations of
people of Bengali origin, there is bound to be a Basant Panchami
celebration. Various cultural and entertainment programmes and
competitions of skill are organized on this occasion, which sustain
the interest of the young and old alike.
The other occasion on which ritualistic
worship of Goddess Saraswati is done is during October every year
coinciding with the first 10 days of the fortnight following the new
moon (Sharad Ritu) in the autumnal month of Aswina of
the Hindu lunar calendar. These 10 days are called Dussehra. In the
southern part of India this period is denoted by term Navratri
(nine nights) and the tenth day is called Vijaya Dashami
(victorious tenth day). From the sixth day (Shashti) to the
ninth day (Maha Navami) Saraswati is worshipped. In fact, the
ninth day is termed as Saraswati Puja day in south India. On this day
students are enjoined to worship the Goddess of Learning and seek her
blessings for success in their educational pursuits. Factories and
workshops are spruced up and the tools of production are worshipped
since Saraswati Puja day is also the ayudha (implements) puja
day. Prasadam made to the deity and tools are partaken by the
management and staff.
In West Bengal, Saraswati Puja forms
part of the Durga Puja celebration. Saraswati in the Bengali
tradition is regarded as the daughter of the Mother Goddess Durga or
Parvati, the consort of Lord Shiva. In Durga Puja, images of Durga
and her children—Lakshmi, Saraswati, Ganesha and Kartik—are
installed in the specially built pavilions and celebrations go on for
four days, ending with the immersion of the images in the sea of
river. Durga Puja is the most important festival for the Bengalis
world over and it is not only a religious festival but also an
occasion for promotion of fine arts, culture and universal
brotherhood.
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