Parvati (<!--Do not remove, WP:INDICSCRIPT doesn't apply to WikiProject Hinduism-->, ), also known as Uma (, ) and Gauri (, ), is one of the principal goddesses in Hinduism, revered as the goddess of power, energy, nourishment, harmony, love, beauty, devotion, and motherhood. Along with Lakshmi and Sarasvati, she forms the trinity, known as the Tridevi.
From her first appearance as a goddess during the epic period (400 BCE – 400 CE), Parvati is primarily depicted as the consort of the god Shiva. Parvati is often equated with the other goddesses such as Sati, Uma, Kali and Durga and due to this close connection, they are often treated as one and the same, with their stories frequently overlapping. In Hindu mythology, the birth of Parvati to the mountain lord Himavan and his wife Mena is primarily understood as a cosmic event meant to lure Shiva out of his ascetic withdrawal and into the realm of marriage and household life. As Shiva's wife, Parvati represents the life-affirming, creative force that complements Shiva's austere, world-denying nature, thus balancing the two poles of asceticism and householder life in Hindu philosophy. Parvati's role as wife and mother is central to her legendary persona, where she embodies the ideal of the devoted spouse who both supports and expands her husband's realm of influence. Parvati is also noted for her motherhood, being the mother of the prominent Hindu deities Ganesha and Kartikeya.
Philosophically, Parvati is regarded as Shiva’s shakti (divine energy or power), the personification of the creative force that sustains the cosmos. In this role, she becomes not only a mother and nurturer but also the embodiment of cosmic energy and fertility. She is the source of power that energises Shiva, who without her is incomplete. Parvati's stories, therefore, is not just about her role as a wife but also about her cosmic function as the force that activates and sustains life. She is also one of the central deities in the goddess-oriented sect of Shaktism, where she is regarded as a benevolent aspect of Mahadevi, the supreme deity, and is closely associated with various manifestations of Mahadevi, including the ten Mahavidyas and the Navadurgas. In Hindu temples dedicated to her and Shiva, she is symbolically represented as the yoni. Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's wife, who is the incarnation of Parvati) in earlier texts, but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). Uma also means that "the One born out of Om (The Pranava Mantra) She is also referred to as Ambika ('dear mother'), Shakti ('power'), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), Urvi or Renu, and many hundreds of others. Parvati is also the goddess of love and devotion, or Kamakshi (the goddess of fertility), abundance and food/nourishment, or Annapurna. She is also the ferocious Mahakali that wields a sword, wears a garland of severed heads, and protects her devotees and destroys all evil that plagues the world and its beings.
The apparent contradiction that Parvati is addressed as the golden one, Gauri, as well as the dark one, Kali or Shyama. As a calm and placid wife, Parvati is mentioned as Gauri, and as a goddess who destroys evil, she is Kali. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and fertility.
History
thumb|upright=1.5|Coinage of [[Kushan Empire|Kushan ruler Huvishka with, on the reverse, the divine couple Ommo ("ΟΜΜΟ", Umā) holding a flower, and Oesho ("ΟΗϷΟ", Shiva) with four arms holding attributes. -180 CE.]]
The word Parvati does not explicitly appear in Vedic literature. Instead, Ambika, Rudrani and others are found in the Rigveda. The verse 3.12 of the Kena Upanishad dated to mid-1st millennium BCE contains a goddess called Uma-Haimavati, a very common alternate name for Parvati. Sayana's commentary in Anuvaka, however, identifies Parvati in the Kena Upanishad, suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of the world. She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic Trideva of Agni, Vayu, and Varuna, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." [IAST original].
Sati-Parvati appears in the epic period (400 BCE–400 CE), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th–6th centuries) and the Puranas (4th through the 13th centuries) that the stories of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains. While the word Uma appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Hamsa Upanishad.
Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra. In other words, the symbolism, legends, and characteristics of Parvati evolved fusing Uma, Haimavati, Ambika in one aspect and the more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.
Iconography and symbolism
thumb|upright=0.8|12th century Parvati sculpture from [[Odisha.]]
Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful, and benevolent. She typically wears a red dress (often a sari), and may have a head-band. When depicted alongside Shiva she generally appears with two arms, but when alone she may be depicted having four. These hands may hold a trident, mirror, rosary, bell, dish, goad, sugarcane stalk, or flowers (such as a lotus). One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha, is on her knee, while her younger son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow. Bronze has been the chief metal for her sculpture, while stone is the next most common material. The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga, it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some depictions, Parvati and Shiva are shown in various forms of sexual union.
In some manifestations, particularly as angry, ferocious aspects of Shakti such as Kali, she has eight or ten arms, and is astride on a tiger or lion, wearing a garland of severed heads and skirt of disembodied hands. In benevolent manifestations such as Kamakshi or Meenakshi, a parrot sits near her right shoulder symbolizing cheerful love talk, seeds, and fertility. A parrot is found with Parvati's form as Kamakshi – the goddess of love, as well as Kama – the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with the parrot began when she won a bet with her husband and asked for his loincloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi).
Parvati is expressed in many roles, moods, epithets, and aspects. In Hindu belief, she is an active agent of the universe, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom, and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapts to the needs of circumstances in her role as the universal mother.
- Annapurna, a goddess of food and nourishment.
- Meenakshi, regional form of Parvati in Madurai. She is considered as the queen of Madurai.
Legends
thumb|Wall carvings in the 6th-century [[Ellora Caves: A scene depicting Kalyanasundara – the wedding of Shiva (four-armed figure, right) and Parvati (two-armed, left).]]
The Puranas tell the tale of Sati's marriage to Shiva against her father Daksha's wishes. The conflict between Daksha and Shiva gets to a point where Daksha does not invite Shiva to his yagna (fire-sacrifice). Daksha insults Shiva when Sati comes on her own. She immolates herself at the ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires, and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the daughter of Himavat and Mainavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat.
According to different versions of her chronicles, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. Indra sends the god Kama – the Hindu god of desire, erotic love, attraction, and affection, to awake Shiva from meditation. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, yogin and tapas. This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems.
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thumb|Parvati with Shiva and sons Ganesha (leftmost) and Kartikeya (rightmost). Parvati is depicted with green complexion, denoting dark complexion.
After the marriage, Parvati moves to Mount Kailash, the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) – the leader of celestial armies, and Ganesha – the god of wisdom that prevents problems and removes obstacles.
There are many alternate Hindu legends about the birth of Parvati and how she married Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagavata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Parashakti. Pleased, Adi Parashakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. The stories go through many ups and downs until Parvati and Shiva are finally married.
Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes the story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.
Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolize at once both the power of renunciation and asceticism and the blessings of marital felicity.
Parvati thus symbolizes many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the latter represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is the householder's life – both feature as Ashramas of ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen on nurturing worldly life and society. yield a vision of reconciliation, interdependence, and harmony between the way of the ascetic and that of a householder.
The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolizes the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.
Shaiva's approaches tend to look upon Parvati as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out manifests in the form of ten terrifying goddesses who block Shiva's every exit.
David Kinsley states: