Jagadhatri: 15

The eminent scholar Raghunandana Bhatta hints at this very relationship in his Durgotsava-tattva—if Durga Puja embodies the intensity of action and deed, then the worship on Kartik Shukla Navami (Jagaddhatri worship) represents the settled and contemplative state of that same power. In other words, if Durga-shakti is dynamism, then Jagaddhatri-shakti is the grace of that movement, the point of repose in wisdom.

From the tantric perspective, "post-Durga" means not merely the temporal "afterward," but rather the evolved Durga in the progression of consciousness—where the transition occurs from rajas to sattva. Hence Jagaddhatri is called "Durga-rupini dhrti-murti"—she is that Durga who has brought stability after battle, established knowledge after action, and transformed power into peace.

"Post-Durga" signifies the inward-turned aspect of Durga, where power no longer means struggle, but rather self-restraint, steadiness, and the establishment of Brahma-consciousness.

Historical and archaeological research reveals that while Jagaddhatri worship gained popular currency as a public festival in the Krishnanagar and Hooghly regions during the 18th century, the worship of Goddess Jagaddhatri is much older, with both scriptural sources and archaeological evidence extending this worship's antiquity back to the Pala period.

First, among the archaeological evidence, the most significant and striking artifact is an eighth-century lion-seated goddess sculpture discovered in the present-day Barisal region of Bangladesh and currently preserved in Calcutta's Asutosh Museum. This image holds special significance as an ancient and symbol-rich manifestation of the Jagaddhatri concept. Here the goddess appears seated upon a lion—weapons in hand, yet instead of war's ferocity or rage upon her countenance, there radiates a profound peace and the luminescence of inward-dwelling wisdom.

Artistically, this is no scene of victorious celebration, but rather the manifestation of an inward-turned power, where the goddess is not "conqueror" but "sustainer"—one who holds, protects, and maintains the world in balance. Compared to the conventional forms of Mahishasuramardini, we find here no slaying of demons or conflict; rather, the symbolic embodiment of a peaceful, stable, and conscious power. This serene yet strong posture most clearly expresses the eternal concept of Jagaddhatri—where power is no longer synonymous with destruction, but becomes the symbol of "stability" or "sustenance."

Second, the presence of similar lion-seated goddess sculptures in various regions of eastern India indicates a long cultural continuity that developed through the confluence of both Buddhist and Hindu traditions. A terracotta seal recovered from Nalanda depicts an eight-armed goddess—presumably an early form of Durga—seated upon a lion and holding various weapons in her hands. This sculpture dates to approximately the first half of the seventh century. The artistic style shows both the influence of Buddhist clay artistry and distinctly the resonance of Hindu tantra-associated goddess consciousness. This indicates that in contemporary India, the concept of "sustaining power"—that is, such a goddess who maintains the world in balance and brings stability to creation—was already prevalent. This very concept would later, with the development of Bengal's Shakta tradition, transform into the distinct symbol known as "Jagaddhatri."

Third, a tenth-century four-armed lion-seated sculpture discovered in the Kalna region of Bardhaman district in West Bengal bears ultimate testimony to this historical evolution. Here the goddess's countenance and posture no longer display any war-madness; rather, there is the manifestation of meditative peace, gentle stability, and inward-directed luminescence. The goddess's lion mount here is not merely a symbol of power—it is the embodiment of "sustaining power," that is, the divine force who maintains steadiness within motion, constancy within change, and eternal balance in the cycle of creation and destruction.

These three archaeological artifacts—the eighth-century sculpture from Barisal, the seventh-century seal from Nalanda, and the tenth-century image from Kalna—together trace a clear historical line. This line demonstrates that "Jagaddhatri" is no later regional innovation; rather, she is the artistic development of that fundamental concept of ancient Indian goddess consciousness, where power means not destruction but sustenance; not victory but stability; and the world is not a battlefield but the reflection of a balanced consciousness.

From this perspective, Jagaddhatri philosophy connects deeply with Vedanta's concept of the "dhatri"—she who sustains the world—and with tantra's theory of "sthiti-shakti"—she who maintains the balance of consciousness. Thus, in the combined context of archaeology, art, and philosophy, we see that Jagaddhatri is not merely a regional goddess of Bengal; she is the inheritor of that ancient consciousness who sustains creation through the stability of knowledge and the radiance of compassion.

The profound transformation that began in Indian culture during the Pala period was not merely political or social—it initiated an epochal synthesis at the levels of philosophy, theology, and the arts. During this time, the interconnected streams of Buddhist and Shakta philosophy began transforming one another, creating a new aesthetic and philosophical iconography. Jagaddhatri is an excellent fruit of that synthesis—a goddess who has transformed the fierce dynamic power of Kali or Durga into a sattvic steadiness, a form of stable consciousness. Her face bears not the frenzy of war, not blood-thirst; rather, there is the radiance of knowledge, the balance of compassion, and the profound stillness of self-mastery. In this form we see a unique connection of Bengal's artistic heritage and philosophical insight, where "power" is no longer synonymous with destruction—but becomes the symbol of sustenance, control, and illumination.

During the Pala period, Indian culture and religious consciousness gained a new dimension. Though the kings of this era were primarily patrons of Buddhism, all three streams—Shakta, Vaishnava, and Jain—received equal importance in their realm. Religion was not then confined to the boundaries of any single institution; rather, in a broad cultural expanse, various philosophies, rituals, and forms of practice influenced and complemented one another. From this cultural synthesis was born a new aesthetic and philosophical understanding—where divinity was no longer merely the symbol of one kind of belief, but the multifaceted manifestation of consciousness's great power.

Buddhist tantra, which had particularly flourished during the Pala period, sought to realize that transformation of consciousness through mantras, yantras, mandalas, and goddess worship. In this tantric stream, the concepts of goddesses named "Dharini" and "Prajnaparamita" became especially significant. The term "Dharini" means 'she who sustains'; in the Buddhist context, she is that power who sustains all Buddha-consciousness and preserves it as memory. She is not merely mantra or word, but that universal maternal power who has sustained the entire world-consciousness—that is, the primordial power of all knowledge and compassion.

Another culmination of this stream is "Prajnaparamita"—meaning "knowledge-paramita" or "supreme wisdom." In Mahayana Buddhist philosophy she is called "sarva-buddha-janani," that is, the source of all Buddhahood. In her form we see a detached tenderness—which is the perfect unity of knowledge and compassion. In art she is often depicted as a peaceful and radiant maternal figure, holding in her hands sacred texts and lotus, symbols of wisdom's purity.

These Buddhist tantric concepts gradually became associated with Shakta philosophy. In Shakta doctrine, "Shakti" is not merely the impulse of creation; she is simultaneously the foundation of sustenance, protection, and dissolution. In this philosophy the goddess is called "jagat-dharini"—that is, she who sustains the world, maintains balance, and preserves the stability of consciousness. Here creation is no longer the play of any external force; the goddess herself is that supreme consciousness who, manifesting as the world-form, establishes herself within herself.

When this Buddhist concept of "Dharini" and "Prajnaparamita" merges with the Shakta idea of "jagat-dharini," the image of "Jagaddhatri" gradually takes shape. She is not the goddess of any single religion; she is the symbol of that indwelling power which sustains the world, protects it, and keeps it established in compassion. In her form we can see the Buddhist stream of compassion, the restraint of the Jain stream of steadiness, and the radiant unity of Shakta philosophy's power-doctrine.

Thus Jagaddhatri becomes the symbol of a universal maternal power—one who has transformed the fierce dynamic power of Kali or Durga into sattvic steadiness, into the stability of knowledge and the balance of compassion. She is no longer merely a goddess of the Shakta tradition; she is that form of consciousness which is beyond all divisions, and which with its own light continues to sustain, control, and reconstruct the world eternally.

In this context, the three names mentioned—Buddhist Dharini, Jain Dhriti Devi, and Vedic Dhritirupa Devi—actually express the principle of "stability" or "sustenance" from three different perspectives across three different theological streams, which later united in Jagaddhatri philosophy.

In the Buddhist tantric tradition, the term "Dharini" (from the Sanskrit root dhṛ, meaning to hold or sustain) signifies a power or mantra that is the bearer of memory and knowledge. Here 'Dharini' is not merely a verbal formula; she is a conscious goddess, a maternal consciousness—who is the foundation of all Buddha-consciousness. In Vajrayana Buddhism, this Dharini goddess's identity is intimately connected with compassion (karuṇā), because compassion or the inherent sympathy toward all beings is an indispensable quality of Buddhahood. That compassionate power sustains the world, protects it from destruction. Therefore Buddhist Dharini is essentially "the power of great compassion"—who sustains the world within her heart and provides all beings the possibility of liberation.

On the other hand, in Jain philosophy, "Dhriti Devi" is the symbol of restraint, tolerance, and self-control. In Jain doctrine, the path to liberation for the soul is the restraint of desire, anger, fault, and violence. "Dhriti" means "sustenance" or "inner stability"—that power which turns humans away from momentary attractions and keeps them steady and composed. In Jain iconography, Dhriti Devi is often depicted with a peaceful, gentle, and stable countenance—she who is the goddess of controlling mental afflictions. This power of restraint or patience is a kind of inherent stabilizing force that maintains the balance of human consciousness.

Third, the Vedic Dhriti or Dhritirupa Devi, who is the primordial form of "sustenance." In the Rig Veda and Atharva Veda, "dhriti" means that fundamental power which keeps the world intact—which creates balance between motion and stability. This dhriti-power was later adopted in Shakta philosophy as "sthiti-shakti," that is, such a power who is the symbol of eternal stability within the world's changeability. She sustains stability within creation itself, and within stability she holds the possibility of creation.

The conceptual currents of these three streams unite in the form of Jagaddhatri. Jagaddhatri means "she who sustains the world"—this concept is formed through the confluence of Buddhist Dharini's compassion, Jain Dhriti's restraint, and Vedic Dhriti's stabilizing power. In her form, compassion and knowledge are as unified as power and tranquility. She is brilliant yet peaceful; active yet stable; a manifestation of power yet a symbol of knowledge.

This unity has given her a special place in Bengal's Shakta tradition. She is not merely a war goddess; she is that goddess who at the level of consciousness holds the gentleness of compassion and the profound balance of stabilizing power. Therefore in Jagaddhatri's form we see a skillful union of Buddhist compassion, Jain restraint, and Vedic stability—where power is no longer merely victory, but sustenance; creation is no longer merely phenomena, but the radiance of a stable consciousness.