Forms of Devi: From Durga to Kali in Folk and Tribal Art

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By Zeel Sundhani

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  • India
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    Yā Devī Sarvabhūteṣu Shaktirūpeṇa Saṃsthitā,

    Namastasyai Namastasyai Namastasyai Namo Namaḥ.

    "To the Goddess who abides in all beings as the embodiment of power,

    I bow to her again and again, I bow to her again and again."

    The concept of the Devi or the Divine Feminine in India is as ancient as the civilization itself, encompassing a vast spectrum of manifestations, from the benevolent and nurturing to the fierce and transformative. In her various forms as Durga, Kali, Lakshmi, Saraswati and Parvati, she is not merely a deity but the embodiment of Shakti, the cosmic energy that sustains and dissolves the universe. The philosophy underlying goddess worship, therefore, is not limited to ritual devotion but extends into the metaphysical understanding of creation, preservation and destruction as cyclical and interconnected forces.

    In folk and tribal traditions across India, these theological concepts take on deeply localized and lived forms. The goddess, rather than being distant and abstract, becomes the protector of the home, the guardian of the harvest and the preserver of community health and fertility. While classical depictions of the Devi in temple sculpture or Sanskrit texts often stress idealized iconography, folk and tribal art bring her closer to the rhythms of daily life, depicting her as a village mother (Gram Devi), a forest guardian or a fierce warrior of justice. Whether she appears on a Mata ni Pachedi cloth in Gujarat or as Mahishasura Mardini in a Patachitra scroll from Bengal, the essence remains the same - Devi as the source of Shakti, both protective and destructive, gentle yet formidable.

    Shakti worship

    The worship of the feminine principle has been central to the Indian spiritual imagination, rooted in the belief that the universe itself is born of Shakti. The earliest traces of goddess veneration are visible in prehistoric fertility cults and later crystallize in the Vedic and Puranic corpus as personified deities. Philosophically, she represents the dynamic energy of the Purusha (cosmic consciousness), and the relationship between the two is that of motion and stillness, energy and essence.

    In Indian art, this metaphysical union finds expression through elaborate iconography, with multiple arms of the goddess symbolizing omnipotence, while her weapons denote protection from evil, and her vahana signifies control over instinctual nature. In various folk and tribal art forms, these attributes are interpreted within local visual vocabularies. For example, in Madhubani paintings, Durga’s form is framed by floral motifs that link her to fertility and continuity, while in Warli wall paintings, the goddess is depicted through simple geometric forms, embodying both the abstract and the elemental.

    Thus, while Devi exists as an archetype of cosmic power, through these art forms also becomes a participant in everyday life as a healer, a guardian, a mother. Through these regional reinterpretations, the Indian imagination transcends the boundaries of text and theology, creating a living tradition where every village, forest, and river finds its own manifestation of the Divine Feminine.

    Durga

    Siṃha-vāhinī Mahābhīmā Mardayantī Mahishāsuram,

    Devānāṃ Kārya-siddhyarthaṃ Hatāśeṣa-danujotkaṭam.

    "Mounted on her lion, the great and terrible goddess struck down Mahishasura,

    for the accomplishment of the gods’ purpose, destroying the arrogance of the demons."

    The Display of Shakti: Durga Puja in Kalighat and Pattachitra Art by Sonali Chitrakar

    Among the many manifestations of the Devi, Durga holds a central and complex position. She is simultaneously the tender mother and the invincible warrior, embodying both compassion and strength. The myth of Mahishasura Mardini, the slayer of the buffalo demon, is the most powerful representation of her role as the restorer of cosmic order (dharma). According to the Devi Mahatmya in the Markandeya Purana, Durga emerges from the combined energies of the gods, created to annihilate the asura Mahishasura, who had become invincible to all male beings. She thus represents the collective power of the divine, an embodiment of Shakti itself, the supreme feminine energy without which the masculine remains inert.

    Durga’s iconography is replete with symbolic meaning, each element of her form serving as a metaphysical expression of her divine attributes. She is most often depicted riding a lion or tiger, her vahana, which represents courage, ferocity and the untamed forces of nature brought under divine control. The lion, a traditional symbol of power and sovereignty, signifies Durga’s mastery over instinct and aggression, while the tiger in some regional traditions underscores her dynamic energy and her connection with the wilderness. The act of her mounting the animal reflects the harmonization of primal energy with spiritual wisdom—she does not destroy the beast, but commands it, channeling its strength towards righteous purpose.

    In her ten hands, Durga wields the weapons gifted to her by the gods, each signifying an aspect of divine power and cosmic function. The chakra (discus) given by Vishnu represents the cyclical nature of time and the destruction of ignorance; the trishula (trident) from Shiva symbolizes the triad of creation, preservation and destruction; the shankha (conch) offered by Varuna resounds with the primordial Om, invoking order amidst chaos. The sword (khadga), given by Kala, embodies the sharpness of knowledge that severs illusion (maya), while the bow and arrow from Vayu and Surya denote potential and kinetic energy, the balance between thought and action. The thunderbolt (vajra) of Indra signifies unshakable determination, and the lotus from Brahma reflects purity and spiritual awakening amid worldly impurity. The spear (shula), club (gada) and snake or bell in some traditions complete her array of weapons, each reminding the devotee that her power is not destructive for its own sake but restorative, aimed at dissolving adharma and reinstating balance in the cosmic order.

    In artistic representations, the goddess’s many arms stretch outward in rhythmic balance, suggesting both omnipresence and control. Her serene face contrasts with the intensity of her battle stance, symbolizing the unity of inner calm and outer strength. Thus, Durga’s image, replete with divine symbols and dynamic posture, encapsulates the fundamental essence of Shakti - fierce, protective and maternal.

    Check out our entire collection of Durga paintings here

    Maa Durga Sandalwood Miniature Artwork by Om Prakash

    The concept of the Navadurga, or the nine forms of the goddess Durga, represents the unfolding of Shakti in her varied manifestations across the cycle of creation, preservation and dissolution. Each form of the goddess embodies a distinct quality and power, collectively illustrating the journey of the devotee from ignorance to enlightenment. The nine forms - Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayani, Kalaratri, Mahagauri and Siddhidatri are worshipped successively over the nine nights of Navratri, one of the most significant festivals dedicated to the Divine Feminine in India.

    Nava Durga - Pattachitra Painting by Purusottam Swain for Home Decor

    Shailaputri, born of the mountains, represents strength and stability, the grounding of consciousness in matter. Brahmacharini signifies austerity and devotion, the disciplined pursuit of truth. Chandraghanta, adorned with the crescent moon, embodies grace and serenity amid battle, symbolising mastery of the mind. Kushmanda, the creator of the cosmic egg, reflects the radiance of creative energy, while Skandamata, the mother of the warrior-god Skanda, represents nurturing courage and protection. Katyayani, born of the accumulated anger of the gods, stands for righteous power and divine justice; Kalaratri, the dark night of dissolution, reveals the fierce face of time that consumes ignorance; Mahagauri, pure and radiant, denotes purification and renewal and Siddhidatri, the bestower of supernatural powers, completes the cycle with perfection and self-realisation. Each of these goddesses have their own iconography, with distinct attributes and vahanas that complement their personality, power and function.

    The worship of the Navadurga during Navratri unites mythology, ritual and community life in a single continuum of devotion. The festival spans nine nights and ten days, culminating in Vijaya Dashami, the day of victory. Each night corresponds to one form of the goddess, whose image is invoked through mantra, music and ritual. The first three nights are devoted to Durga in her fierce and protective aspects; the next three to Lakshmi, the bringer of prosperity and the final three to Saraswati, the goddess of wisdom, reflecting the holistic progression from purification to abundance to enlightenment.

    Across India, regional variations of Navratri reveal the diversity of Shakti worship. In Bengal, the festival assumes the form of Durga Puja, where elaborate clay images of Mahishasura Mardini are installed and ritually immersed in water, signifying both the cyclical nature of creation and the goddess’s return to her cosmic abode. In Gujarat, Navratri transforms into a celebration of rhythm and community through garba and dandiya dances performed around the garbha-deep, the lamp symbolising the divine womb and eternal energy. In the Himalayan regions and southern India, the festival takes on ascetic and domestic forms- temple vigils, fasting and the worship of books and tools during Ayudha Puja and Saraswati Puja. Despite these variations, the underlying principle remains constant: the nine nights symbolise the journey from outer struggle to inner illumination, guided by the transformative power of the goddess.

    The worship of the Navadurga serves not only as a celebration of divine victory but as a symbolic reaffirmation of the harmony between the human and the cosmic. Through these nine manifestations, the Devi reveals herself as strength and compassion, as creation and destruction, as knowledge and deliverance, the eternal cycle of Shakti that sustains the universe and resides within every female.

    Kali

    Karāla-vadanāṃ Ghorāṃ Mukta-keśīṃ Catur-bhujām,

    Khaḍga-kheṭaka-dhāriṇīṃ Gadādi-nayutāṃ Smaret.

    "One should meditate on Kali, the terrifying, open-haired goddess with four arms, holding the sword and shield, surrounded by countless weapons."

    Kali Maa in Kalighat Painting by Bhaskar Chitrakar

    Kali embodies the raw, unbounded power of transformation. She is the Devi in her most elemental and terrifying form, the dark mother who destroys illusion, devours time and dissolves the ego that binds the soul to the cycle of existence. The name ‘Kali’ derives from ‘kala’, meaning both ‘time’ and ‘blackness’, symbolising the infinite void from which creation emerges and into which all returns. She is not merely a goddess of destruction, but of renewal. She is the power that annihilates ignorance so that knowledge may be born.

    According to the Devi Mahatmya, Kali emerges from Durga’s forehead during her battle with the asuras Shumbha and Nishumbha, symbolising the release of concentrated fury from within the cosmic mother. In iconography, she is depicted standing or dancing upon the inert body of Shiva, an image often misinterpreted as one of dominance. In fact, it represents the equilibrium of consciousness and energy - Shiva as the passive, absolute reality (Purusha) and Kali as the active, creative force (Prakriti). The moment Shiva lies beneath her feet is the moment when energy realises its source, when motion returns to stillness.

    Kali’s form is stark and uncompromising. Her complexion is dark, almost blue-black, signifying the vastness of the unknown and the absorption of all colors, just as she absorbs the cosmos within herself. Her hair flows unbound, denoting freedom from social and cosmic constraints. She wears a garland of human heads and a girdle of severed arms, symbols not of cruelty but of liberation. The heads represent the letters of the Sanskrit alphabet and thus knowledge itself, while the arms symbolise karma, the accumulated deeds that bind one to samsara. By wearing them, Kali proclaims her mastery over both speech and action, the total dissolution of bondage. Her tongue, extended and dripping with blood, signifies the consumption of the ego and the life force of illusion.

    Her four hands carry objects of profound symbolic power. In one, she holds a sword, the weapon of wisdom that severs ignorance; in another, a severed head, representing the annihilation of the false self. The other two hands are raised in gestures of blessing and protection (abhaya and varada mudras), assuring her devotees of fearlessness and liberation. Around her dance the attendants and spirits of the cremation ground, the space where life and death coexist and where transformation is most possible.

    Parvati

    Namaste’stu Jaganmātaḥ Śaraṇye Parvateśvari,

    Namaḥ Pārvati Nityaṃ Namaḥ Shivapriye Shubhe.

    "Salutations to you, Mother of the Universe, refuge of all,

    to you Parvati, ever auspicious and beloved of Shiva."

    The Illuminating Divinity: Lord Shiva and Goddess Parvati Seated on Nandi in Kalamkari by Mannasamudram Viswanath Reddy

    Shiva Parvati Ganesha and Kartikeya In Mysore by Raghavendra B B

    Parvati, the gentle and benevolent consort of Shiva, represents the nurturing and domestic aspect of the Divine Feminine. Her name, derived from parvata (mountain), signifies steadfastness and strength, reflecting her origin as the daughter of Himavan, the lord of the Himalayas. Parvati embodies endurance, devotion and the creative continuity of life. She is the symbol of shakti as it manifests in the rhythm of the household, the sacred center of human existence where love, duty and balance sustain the cosmic order.

    In mythological narratives, Parvati’s identity is deeply intertwined with that of Shiva. Her penance to unite with him, as recounted in the Kumarasambhava and the Shiva Purana, illustrates her role as the seeker of divine union, the aspirant whose austerity and devotion awaken the dormant consciousness of the ascetic god. Together, they represent the indivisible unity of Purusha (consciousness) and Prakriti (nature). In this synthesis, Parvati is not subordinate to Shiva; rather, she is his essential counterpart, the dynamic energy without which even the supreme ascetic would remain inert.

    Iconographically, Parvati is portrayed as a youthful and graceful goddess, her demeanor calm and compassionate. She is often depicted seated beside Shiva or engaging in domestic and maternal acts, holding Skanda (Kartikeya) or Ganesha, or performing acts of creation and nurture. Her vahana, the lion or sometimes the bull Nandi shared with Shiva, reflects her shared authority and her participation in the cosmic balance of power. The lotus in her hand denotes purity and fertility, while the mirror she sometimes holds reflects self-knowledge and introspection. In her various regional forms - Gauri, Annapurna, Ambika or Lalita, Parvati’s attributes shift from maternal to ascetic, from the provider of food to the embodiment of divine beauty and compassion.

    In folk and tribal traditions, Parvati’s form is closely linked to the fertility of the earth and the well-being of the household. In Rajasthani and Madhya Pradesh customs, she appears as Gauri or Gangaur, worshipped by women during spring festivals for marital happiness and prosperity. The clay or wooden images crafted for the Gangaur festival represent Parvati as a bride, adorned with local ornaments and draped in colorful fabrics, symbolising the cyclical renewal of nature and the sanctity of marriage. In terracotta and painted depictions from eastern India, Parvati is shown as a village mother, her features reflecting local aesthetics and attire. In tribal communities of central India, she merges seamlessly with the figure of the Gram Devi, the tutelary goddess who protects the community and ensures the fertility of land and livestock.

    Parvati’s significance in these artistic and ritual expressions lies in her embodiment of balance, the gentle aspect of Shakti representing sustenance and harmony. In her, the cosmic becomes domestic and divinity enters the realm of human relationships, binding the spiritual to the everyday. She is the goddess who reminds humanity that devotion, patience and compassion are as essential to liberation as knowledge or power.

    Lakshmi

    Padma-priye Padmini Padma-haste Padmālaye Padma-dalāyata-akṣi,

    Viśva-priye Viṣṇu-mano’nukūle Tvat-pāda-padmam Mayi Sannidhatsva.

    "O beloved of the lotus, lotus-handed and lotus-seated, lotus-eyed one,

    beloved of the universe and dear to Vishnu, may your lotus feet ever dwell in my home."

    Gaja Lakshmi In Tanjore by R. Jayanthan

    Lakshmi, the goddess of wealth, abundance and auspiciousness, occupies a central position in the Indian religious imagination as the embodiment of material and spiritual prosperity. Her name, derived from the Sanskrit root laksh, meaning ‘to perceive’ or ‘to mark,’ signifies the attainment of goals and the realization of one’s rightful place within the cosmic order. As the consort of Vishnu, she represents the sustaining aspect of the universe, balancing the dynamic energy of Shakti with the stability of preservation. Lakshmi’s energy is gentle and sustaining, symbolising order, fertility and domestic harmony.

    In iconography, Lakshmi is typically depicted seated or standing upon a fully bloomed lotus, signifying purity amidst the impurities of the world. The lotus also represents self-realisation, rooted in the mud of material existence, yet blossoming untouched upon the surface. She is usually portrayed with four hands, each carrying symbolic objects. The lotus in one hand signifies spiritual awakening; the purna kumbha or pot overflowing with grains and coins represents material abundance; the abhaya mudra (gesture of fearlessness) assures protection, while the varada mudra (gesture of boon-giving) conveys generosity and grace. Her vahana, the owl, is a distinctive and symbolic companion. Representing wisdom, alertness and the ability to see through darkness, the owl underscores that material prosperity must be guided by discernment, prudence and insight. Her two attendant elephants, often shown pouring water over her from golden vessels, symbolise royal power and the ceaseless flow of prosperity. The water they pour is the life-giving rain, suggesting Lakshmi’s association with fertility, harvest and renewal.

    In Indian tradition, Lakshmi manifests in various forms - Shri, the embodiment of auspiciousness; Dhanya Lakshmi, the giver of agricultural bounty; Dhana Lakshmi, the goddess of wealth; and Gaja Lakshmi, the bestower of royal fortune. Each of these aspects finds distinct regional expression in folk art, where Lakshmi becomes the guardian of domestic well-being and the source of everyday prosperity. The vivid reds and yellows of Lakshmi folk paintings echo the celebratory tones of Diwali, the festival during which Lakshmi is most fervently worshipped. She often also is seen in the company of Vishnu in his Vaikuntha form.

    Folk rituals like drawing kolams, rangoli and alpana to welcome her into the house and also her connection to agricultural prosperity make her represent not only wealth in its material sense but also the harmony that arises when abundance is aligned with virtue and gratitude. In her, the sacred and the domestic merge seamlessly. She is the gentle rhythm of prosperity that sustains the world, the serene balance between the spiritual and the material in the continuum of Shakti.

    Saraswati

    Yā Kundendu-tuṣāra-hāra-dhavalā, Yā Śubhra-vastrāvṛtā,

    Yā Vīṇā-vara-daṇḍa-maṇḍita-karā, Yā Śveta-padma-āsanā.

    “She who is pure white like the garland of snow and moonlight, clad in radiant garments,

    Whose hands hold the veena and the rosary, seated upon a white lotus — may she inspire us.”

    Goddess Saraswati In white saree in Mysore by Raghavendra B B

    Saraswati, the goddess of knowledge, learning, music and the arts, embodies the intellectual and creative dimension of Shakti. Her presence reflects the human aspiration to comprehend the universe through wisdom, expression and aesthetic perception. Saraswati’s power is subtle yet essential. It is the capacity to discern, to create and to articulate. In the Indian philosophical imagination, she is often associated with the flow of consciousness, the Vak (speech) and the refinement of intellect, linking her directly to both spiritual and worldly pursuits.

    Iconographically, Saraswati is depicted as a serene and poised goddess, typically dressed in white, seated upon her vahana, the swan, which symbolizes purity, discrimination and transcendence. The swan, known for its ability to separate milk from water, represents the power of discernment (viveka), to distinguish the eternal from the transient. This attribute underscores Saraswati’s role as the guide of knowledge, enabling devotees to navigate the complexities of life and learning. In her four hands, she holds objects that signify different aspects of creative and intellectual power: the veena, a stringed musical instrument, expresses mastery over sound, rhythm and the arts; the book (Vedas or scriptures) represents knowledge and learning; the mala (rosary) reflects contemplation and meditation and her fourth hand is often depicted in the abhaya mudra, granting fearlessness to those who seek wisdom.

    Saraswati is also depicted riding a peacock or having a peacock as her vehicle (vahana), symbolizing the fusion of beauty and wisdom. In the context of Saraswati, the peacock symbolizes beauty, creativity and artistic expression, which are all attributes associated with the goddess.

    Saraswati’s significance extends beyond the intellectual realm into ritual and social practice. She is invoked at the beginning of learning, during festivals such as Vasant Panchami, and in homes, schools and cultural spaces. In each of these contexts, she reinforces the idea that knowledge, creativity and artistic expression are sacred activities, acts of devotion and pathways to both personal and cosmic harmony. By guiding devotees in the cultivation of discernment, purity and skill, Saraswati complements the transformative and protective powers of Durga, Kali, Lakshmi and Parvati, completing the holistic spectrum of Shakti’s manifestations.

    Thus, Saraswati embodies the creative intelligence and spiritual insight that sustain both worldly and cosmic order. Her swan, her veena and her scriptures together symbolize the inseparable union of wisdom, art and devotion, reminding humanity that learning and creativity are not merely functional pursuits, but sacred expressions of the divine feminine.

    Folk and Regional Goddesses in Mata ni Pachedi

    Beyond the classical pantheon of Durga, Kali, Lakshmi, Saraswati and Parvati, the worship of the Divine Feminine in India extends into a vast network of local and regional goddesses. These Gram Devis, Sati Matas and tutelary spirits embody the immediacy of Shakti in the lived experience of rural and tribal communities. They are protectors of the village, healers of disease and guardians of fertility, divine forces who participate directly in the cycles of human and ecological life. Unlike the more formalised deities of temple worship, folk goddesses are often without fixed iconography or mythology; their power lies in their proximity to the people and their responsiveness to local needs.

    Among the most striking visual traditions associated with these regional forms is that of the Mata ni Pachedi of Gujarat, a sacred textile painting that serves as both image and shrine. Originating among the nomadic Vaghri community, who were historically denied access to temples, the Mata ni Pachedi functions as a portable temple cloth upon which the goddess herself is enshrined. Painted in red, black and white natural dyes, these textiles depict powerful goddesses surrounded by devotees, animals and scenes of worship. The use of the three colours carries deep symbolic meaning: red represents creation and life-force, black stands for protection and absorption of negativity and white signifies purity and transcendence.

    Bahuchara Mata

     

    Bahuchar Mata Mata Ni Pachedi By Vasant Manubhai Chitara For Home Decor

    Bahuchara Ma is among the most venerated goddesses of Gujarat, particularly revered as a guardian of chastity, courage and self-control. According to tradition, Bahuchara Ma is depicted seated upon a rooster, her vahana, which symbolises watchfulness, sexual restraint and moral vigilance. She is often portrayed holding a trident, sword and scriptures, combining martial and spiritual attributes. In folk belief, Bahuchara Ma is also associated with the Hijra community, who regard her as their patron and protector, a manifestation of the goddess’s inclusive and transformative power. In Mata ni Pachedi paintings, she is rendered in deep red tones, surrounded by attendants and devotees, embodying both maternal grace and formidable authority.

    Hadaksha Ma (Hadkai Mata)

    Hadksha Mata Mata Ni Pachedi By Sanjay Chitara For Home Decor

    Hadaksha Ma, also known as Hadkai Mata, is primarily worshipped in Saurashtra and the Kutch region as the goddess who protects against diseases, particularly rabies and epidemic illnesses. Her name derives from hadak, referring to the convulsions caused by such ailments, underscoring her role as a healer and protector. Iconographically, she is portrayed riding a dog, her distinctive vahana, symbolising both the cure and the carrier of disease, reflecting her dominion over life, death and healing. Offerings to Hadaksha Ma are often made to ensure the safety of livestock and the well-being of the community. In tribal and folk depictions, she appears with minimal ornamentation, often rendered in natural pigments, her presence invoked more through ritual than formal image. Through her, the local imagination integrates the sacred with the ecological, acknowledging the goddess as a custodian of both health and harmony.

    Vahanavati Mata

    Vahanvati Mata in Mata ni Pachedi by Vasant Manubhai Chitara

    Vahanavati Mata is revered as the protector of travellers, sailors and merchants, those who undertake perilous journeys by land or sea. Her worship is especially prominent among seafaring and trading communities of Gujarat, including the Vaghri and Bania groups. In iconography, she is often depicted seated upon a boat or riding a black goat, symbolising resilience and the ability to traverse difficult terrain. Her mythology speaks of her safeguarding ships during storms and ensuring safe voyages, embodying the maritime spirit of Gujarat’s coastal culture. In Mata ni Pachedi paintings, she is portrayed surrounded by waves, fish and maritime motifs, her raised hand in blessing. Vahanavati Ma represents the aspect of the Devi that governs movement, trade and destiny, linking spiritual protection with the material realities of travel and livelihood.

    Meldi Mata

    Meldi Mata And Her Divine Sisterhood Mata Ni Pachedi By Sanjay Chitara For Home Decor

    Meldi Ma is one of the most widely worshipped rural goddesses of Gujarat, venerated as a fierce protector and a benevolent mother. Her role as a guardian of boundaries and farmlands aligns her closely with agrarian life, where she is invoked for fertility, prosperity and protection against evil spirits. She is depicted riding a goat or lion, holding a sword, trident and sometimes a small drum or bell, representing both martial strength and ritual authority. In many villages, shrines dedicated to Meldi Ma are located at the periphery, symbolising her role as the liminal guardian who wards off harm from outside forces. In Mata ni Pachedi art, she is painted in bold red hues, flanked by attendants and animals, embodying both the nurturing and the fearsome facets of Shakti. Her worship often involves animal offerings and community feasts, reflecting her role as a goddess who binds the social and the sacred within the fabric of rural life.

    Sagat Mata

    Goddess Sagat Against Red Background Mata Ni Pachedi By Vasant Manubhai Chitara For Home Decor

    Sagat Ma, is revered as a local manifestation of the mother goddess associated with fertility, childbirth and protection in Gujarat. Her worship is concentrated among pastoral and agrarian communities, where she is invoked to ensure the health of women and children and the abundance of crops and livestock. In visual depictions, Sagat Ma is represented as a seated or standing mother figure, often with a child on her lap or surrounded by attendants, symbolising her nurturing and protective functions. Her vahana varies across regions, sometimes a lion, sometimes a bird, each expressing her dynamic connection with the natural and the divine. In folk art, particularly Mata ni Pachedi textiles, she appears amid patterns of vegetation and flowing lines, signifying fertility and continuity. Sagat Ma’s presence reinforces the idea of the goddess as the life-giver and sustainer, whose grace ensures the cyclical renewal of both nature and community.

    Visat Mata

    The Pantheon of Goddesses: Visat Mata in Mata ni Pachedi by Vasant Manubhai Chittara

    Visat Mata is a revered deity in Gujarat, particularly among the Vaghris, a nomadic community who trace their origins to Lord Vishnu and the goddess herself. Her name, derived from the Gujarati words vis (twenty) and haat (arms), signifies her formidable nature as a twenty-armed goddess, embodying strength and protection. Visat Mata is often depicted riding a black buffalo, a gift from Lord Vishnu, symbolizing her power and connection to the divine. Artistic representations, such as those in the Mata Ni Pachedi tradition, showcase her seated on a bull, surrounded by scenes of her divine interventions and blessings.

    Khodiyar Mata

    Khodiyaar Matas Elegant Grace Mata Ni Pachedi By Sanjay Chitara For Home Decor

    Khodiyar Mata is one of the most revered and widely worshipped goddesses of Gujarat, venerated as a guardian of water, fertility and destiny. Her legends trace her origins to the Charan community, where she is believed to have manifested from a pond to protect her devotee, symbolising her deep association with water as the source of life and renewal. Often depicted riding a crocodile, her distinctive vahana, Khodiyar Mata embodies mastery over the elemental and the untamed, her control over the creature signifying her dominion over both natural forces and subconscious fears. In artistic depictions, she is shown holding a trident or a water vessel, adorned with regional ornaments and surrounded by aquatic motifs, reflecting her role as both nurturer and protector. In folk art and Mata ni Pachedi paintings, she appears in vivid red and blue tones, the interplay of colour capturing her dual nature, serene yet powerful, benevolent yet capable of wrath when balance is disturbed. As a goddess of promise, justice and sustenance, Khodiyar Mata continues to embody the enduring relationship between the sacred feminine, nature and human devotion in the cultural landscape of western India.

    The art associated with these communities that worship these goddesses often transcends mere representation; it serves as ritual, narrative and offering. The act of painting the goddess is itself a devotional gesture that renews her presence within the community. The folk goddess thus becomes a living entity, continuously recreated through practice rather than permanently enshrined in stone. In this sense, the regional Devi cults reaffirm the inclusivity of the Indian religious imagination, where the cosmic Shakti manifests equally in temple sanctums, village shrines and painted cloths.

    Through these folk and tribal expressions, the Divine Feminine remains deeply woven into the fabric of daily existence. Each goddess, whether known by a local name or a pan-Indian identity, reflects the enduring belief that power, compassion, and creativity are inseparable aspects of the same sacred energy that sustains the world.

    Conclusion

    The many forms of Devi together articulate the vastness and inclusivity of the Indian spiritual imagination. Through each manifestation, the Divine Feminine transcends the boundaries of theology and enters the realm of lived experience - embodying courage, wisdom, compassion and creative power in forms that are at once cosmic and local. Whether envisioned as the fierce slayer of demons, the nurturer of life, the guardian of prosperity or the protector of the village, each goddess represents a facet of the same universal energy, Shakti, that animates the world.

    Folk and tribal art traditions, in particular, bring this cosmic principle into tangible, human scale. Through the hands of artisans and the devotion of communities, the goddess becomes part of everyday life - painted on cloth, molded in clay, drawn on walls or invoked through ritual song. These artistic expressions are not merely aesthetic, they are acts of faith that sustain cultural memory and affirm the sacred in the ordinary. The Mata ni Pachedi of Gujarat, the Patachitras of Bengal, the Madhubani paintings of Bihar and countless other regional forms testify to a continuity where art, worship and storytelling come together to form a single spiritual vocabulary.

    Thus, the Devi is both ancient and ever-renewing. Her presence bridges the mythic and the material, the personal and the collective, the local and the universal. Through her, India’s folk and tribal art does not merely depict divinity, it enacts it. The Devi lives not only in temples or texts, but in the colors, patterns and gestures of the people who create and re-create her image. She is the pulse of creation itself, the eternal Shakti whose presence affirms that the sacred feminine continues to shape and sustain the rhythm of life.

    References

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