The Astamatrkas of Marwar
By Ratna Chandra Agrawala
Summary
This brief note documents the Astamatrkas (eight mother goddesses) of Marwar. While seven‑mother worship is well known, the author points to evidence of eight‑mother cults in medieval Rajasthanfile:///home/oai/share/563029_compressed-327-430.pdf#:~:text=The%20Astamatrkas%20of%20Marwir%20The,9%2C%20p. A notable example is a rock‑cut panel near Mandora railway station showing Ganapati seated beside eight standing goddesses carved in a niche about nine and a half feet wide and one and a half feet high. Beneath it is a step‑well bearing an inscription dated 742 Vikrama Samvat (c. 685–686 CE), suggesting that the panel was carved when the well was inauguratedfile:///home/oai/share/563029_compressed-327-430.pdf#:~:text=%E0%A4%AD%E0%A4%BE%20inscription%20dated%20742%20Vikrama,inscription%20specifically%20refers%20to%20the. The goddesses are arranged alternately with two and four arms: an unidentified two‑armed mother; four‑armed Vaisnavi with a conch; two‑armed Mahesani before a bull; four‑armed Brahmani with a swan; another two‑armed deity; a four‑armed deity; Aindri with an elephant; and Chamundi with eight arms trampling a human figurefile:///home/oai/share/563029_compressed-327-430.pdf. Though damaged, the sculptures’ surviving hands, vahanas and ornaments attest to the richness of local artfile:///home/oai/share/563029_compressed-327-430.pdf#:~:text=Astamatrkas%20were%20carved%20%E0%AB%A9%20the,of%20so%20carly%20an%20age. Similar carvings on temple doors at Nilakantha Mahadeva and Phalodi indicate that Astamatrka worship was widespread. The author emphasises the significance of these sculptures for understanding regional goddess cults and calls for their preservation.
Conclusion
By describing the Mandora Astamatrka panel and comparing it with other sites, the article shows that eight‑mother worship was an important aspect of Marwar’s religious landscape. The unique arrangement of alternating two‑ and four‑armed goddesses, dated to the early eighth century, enriches understanding of regional iconographic traditions and underscores the need to conserve these early sculptures.