Camunda's Glory: Representations of the Fierce Goddess in Puranic Literature and Indian (Temple) Art

卡蒙达的荣耀：古兰经文学和印度（寺庙）艺术中凶猛女神的表现

• 批准号: 2370245
• 金额: --
• 依托单位: School of Oriental and African Studies
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2370245
• 关键词: Camunda; Glory; Representations; Fierce; Goddess

The dissertation will investigate the iconography and development of fierce goddesses in Hinduism. These wrathful goddesses are known under various names, most popularly Camunda, and constitute the Camunda-type. They are said to reside on the cremation grounds, and they usually feature, for instance, an emaciated body, a gruesome visage, and a corpse as vehicle. Among their attributes are skull garlands and skull cups. As representations of the divine, they embody the sacred as female, independent, powerful, and drastically fierce.Believed to be of 'tribal' origin, the Camunda-type became increasingly prominent from the fifth century onward, both in literature and art. This dissertation intends to delineate a developmental narrative for the Camunda-type through the lens of iconography by analysing selected pertinent texts and instances of Indian temple art. The textual work will be grounded in samples from Puranic lore, and the visual evidence will focus on medieval temple sculptures from North and Central India, i.e. Rajasthan and Madhya Pradesh.The notion of the terrifying goddess is not entirely unknown to some of the earliest scriptures such as the Vedas and Epics. However, the Puranas, a group of texts compiled from around the third century AD, include terrifying goddesses more frequently and provide narratives for them. The process in which local or indigenous notions of goddesses have entered the broader pantheon perpetuated by Brahmanic mythology and practices becomes apparent in this period. This inclusion and Puranic approval of the wild goddess phenomenon is a crucial moment in her identity.The increasing acceptance and popularity of the Camunda-type on a pan-Indian scale is reflected not only in literature but also demonstrated by the numerous representations in temples throughout the subcontinent, especially in their early stages as part of a set of mother goddesses. Two main areas of the goddess's depiction are Madhya Pradesh and Rajasthan. Here, we find some of the earliest and most elaborate portrayals of her as one of the seven or eight mothers, an independently worshipped goddess, and a yogini. A survey of temples in those regions will attempt to reveal possible dynastic, regional and sectarian preferences (or similarities) as well as clarify her relation to other deities. The sculptures will be viewed in their temple setting, with an emphasis on space and meaning.The iconographic types, extrapolated from textual and visual material, will be juxtaposed to detect if and to what degree texts and images operate interdependently and to what effects. The resulting findings will then allow for an exploration of broader historical developments and circumstances in which the Camunda-type goddess thrived, particularly the process in which she gained access into a pan-Indian pantheon as the fierce aspect of the universal Great Goddess.

本论文将研究印度教中凶猛女神的形象和发展。这些愤怒的女神有不同的名字，最常见的是卡蒙达，并构成了卡蒙达类型。据说它们居住在火葬场，通常具有瘦弱的身体、可怕的面容和尸体作为载体等特征。它们的特征包括骷髅花环和骷髅杯。作为神圣的代表，她们体现了神圣的女性、独立、强大和极度凶猛。卡蒙达型被认为具有“部落”起源，从五世纪开始在文学和艺术中变得越来越突出。本论文旨在通过分析选定的相关文本和印度寺庙艺术的实例，通过图像学的视角描绘卡蒙达类型的发展叙事。文本作品将以古兰经传说中的样本为基础，视觉证据将集中在印度北部和中部（即拉贾斯坦邦和中央邦）的中世纪寺庙雕塑上。对于一些最早的经文（如吠陀经和史诗）来说，可怕的女神的概念并非完全未知。然而，从公元三世纪左右编撰的一组文献《往世书》中，更频繁地出现可怕的女神，并为她们提供了叙述。当地或本土的女神观念进入由婆罗门神话和习俗所延续的更广泛的万神殿的过程在这一时期变得明显。这种对狂野女神现象的包容和《古兰经》的认可是她身份中的一个关键时刻。卡蒙达类型在整个印度范围内的日益接受和流行不仅反映在文学中，而且也反映在整个次大陆寺庙中的众多代表中，特别是在其早期阶段，作为一组母女神的一部分。女神描绘的两个主要地区是中央邦和拉贾斯坦邦。在这里，我们发现了一些最早、最精致的描绘，将她描述为七八位母亲之一、一位独立崇拜的女神和一位瑜伽士。对这些地区寺庙的调查将试图揭示可能的王朝、地区和宗派偏好（或相似之处），并澄清她与其他神的关系。这些雕塑将在其寺庙环境中观看，重点是空间和意义。从文本和视觉材料推断出的图像类型将被并置，以检测文本和图像是否相互依赖、相互依赖的程度以及产生什么效果。由此产生的发现将允许探索更广泛的历史发展和卡蒙达型女神蓬勃发展的环境，特别是她作为普遍伟大女神的凶猛方面进入泛印度万神殿的过程。