New Delhi: In the wake of the Kolkata rape case, three women—a professor, an artist, and a researcher—gathered in Delhi for a discussion on how goddesses are created, worshipped, and diminished.
The discussion at the India International Centre, led by professor Anamika Roy, researcher Nilima Chitgopekar, and painter Seema Kohli, was part of the launch of their book ‘Birthing the Goddess’. The women, in conversation with authors Kishwar Desai and Manju Kapur, focussed on a significant dissonance: the veneration of goddesses in divine forms and the disregard for women in human forms.
“Womanhood, in its rawest form, embodies virya—typically associated with male virility, yet equally present in the goddess form. This creates a longstanding conundrum that scholars and feminists have debated for ages: how can Indian society deeply revere the female goddess while often disrespecting women in human form? When questioned, men frequently respond, ‘But she’s a goddess, not just a woman,’” Chitgopekar said.
The discussion highlighted how femininity is often sanitised or erased to align with male-centric views of divinity—‘domesticated according to the moulds of patriarchy’—to suit those who view female energy as divine only when it is covered and embellished.
The book looks at the feminine archetype through five distinct chapters, each exploring the extraordinary births of deities and the artistic representations that animate these ancient narratives. The collective work looks at the enduring power of the feminine, tracing its journey from mythological origins to contemporary forms.
Locating the feminine within patriarchy
The panel discussed the contrast between traditional and contemporary depictions of the divine feminine. Ancient plaques and sculptures from the 5th-6th centuries CE often portrayed goddesses as naked, raw, and fierce. In contrast, modern depictions present a more covered image of the goddess.
“It’s all rooted in patriarchy. Over time, many forms of the goddess have been appropriated and whitewashed. For example, there was outrage when it was suggested that goddesses drank wine—some couldn’t fathom the idea. But, of course, Durga drank wine, and she exulted in war,” Chitgopekar added.
‘Birthing the Goddess: The Feminine and the Idea of Birth’ is the second instalment in a series following the publication of ‘Experiencing the Goddess: On the Trail of the Yoginis’ in 2019. The book, written by the same five authors, which also include activist Janet Chawla and writer Stella Dupuis, explored the historical, religious, literary, and artistic facets of the Yogini tradition.
The new book extends the inquiry to themes of birth, cyclicality, and continuity. Kohli’s contribution examines birth and death through the concept of Hiranyagarbha, or the golden womb, symbolising perpetual creativity. Janet Chawla contrasts traditional birthing practices in India with modern biomedical perspectives, revealing how ancient rituals often go unacknowledged in contemporary discourse.
Stella Dupuis offers a global perspective, comparing stories of Amazonian warrior women and Sati memorial stones in India with goddesses from Indonesia to Colombia. Anamika Roy’s essay delves into Radha’s evolution from an ordinary gopi to a revered goddess and Nilima Chitgopekar’s examination of Durga reveals that she was not born from a womb but created by gods to fight Mahishasura, manifesting fully as a warrior goddess through the bestowed powers and weapons of many gods.
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Radha, Durga, Sita
The conversation began with Radha.
“Radha is the most enigmatic female character in the entire religious map of India. She started as a common cowherd woman and was elevated to the status of a goddess. That’s why I say Radha was not born; Radha was created,” Roy explained, delving into how Radha’s portrayal evolved from the Gita Govinda to the Bhagavata Purana, and exploring her development from a mere heroine to a divine figure influenced by tantrism and other literary sources.
This discussion extended to other female deities, including Durga, whose representation has undergone significant changes through the ages. Desai cited Chitgopekar’s essay on Durga and Kali, highlighting the reference to how “male gods created Durga” who could “dismember people, chew them up (and) kill the Asuras”.
“Can you imagine a bunch of men today putting together a woman who is really a weapon, a weapon of settling the world right,” she remarked.
Chitgopekar responded by thanking God that men could create something wonderful “because mostly they are fighting with each other and not doing anything useful”.
Durga’s early representations in stone, sculpture, and terracotta suggest she originated from more practical, possibly agricultural contexts, such as addressing threats like buffaloes disturbing crops. Over time, brahminical tradition embraced and formalised these local deities into their religious canon, with texts like the Devi Mahatmya providing authoritative legitimacy to Durga.
Chitgopekar emphasised the need to revisit ancient texts to uncover the original portrayals of goddesses, challenging the sanitised images created by contemporary ideals.
For Kohli, traditions and rituals are in a constant state of flux. The book reflects how these ancient practices, often overlooked, subtly integrate into modern life, remaining vibrant and vital within various facets of Indian culture.
“Whenever I observe something that seems to be dying, I realise that nothing is truly non-living. Everything touched by the Goddess is alive, as she is the one who manifested the universe. She is the ultimate creator, from whom all gods emerged,” Kohli said.
The Q&A session saw the authors debate Sita’s portrayal as well as Radha and Krishna’s love story. Despite Radha being described as the greatest devotee of Krishna, her love for him is ultimately regarded as ‘forbidden’.
“Hinduism is so psychologically appealing at all levels. All of us in this room know how wonderful forbidden love is. So you are giving a place to that in your religious text. And it is very appealing and pleasing. We have this very strong erotic trend within us and many try to justify saying that Radha is Krishna’s greatest bhakt, that’s why she is shown with Krishna. But the fact remains that they had a beautiful love affair and no secular or religious text has condemned it and has rather celebrated the union and that is what we should remember”, Chitgopekar concluded.
(Edited by Aamaan Alam Khan)