Indo Nordic Author’s Collective

9 Planets or 9 GRAHA in ANGKOR Frescos

Dr Uday Dokras, PhD Stockholm

NTRODUCTION: Ancient Indian scholars extensively studied the stars and

other celestial bodies in the never-ending spatial sky. This thorough study of
astronomy and astrology eventually created the the nine planets, influence the
lives of the earth dwellers. Though not all members of the Navagraha are
planets; Surya, the sun is a star; Chandra, the moon is the natural satellite of
Earth; Rahu and Ketu are lunar nodes that are responsible for eclipses of the
sun and moon.

The below reproduced narrative is from the pictorial series The Ratnas Of
Samudra Manthan-or Churning of the Oceans By Shivam Pathania( AMAR
CHITRA KATHA) copied and pasted for simplicity in explaining in this paper
that already stretches over 20 pages.

Samudra Manthan or the churning of the ocean is one unique occasion in

Hindu Mythology, when the Devas and their arch-nemesis, the Asuras, unite
for an important reason. Expression in Angkor wat and other Temples and
has a direct bearing on understanding why the 9 planet s are important to
understand the depiction in the Frescos and carvings. As compared to the
100’s of Km of the reliefs the occasional occurrence of the 9 planest has not
attracted much attentoion from scholars and hardly 1 or 2 papers throw light
on the subject- the most comprehensive being the one quoted below as a
footnote(- viz Nine Deities Panel in Ancient Cambodia , Chhum Menghong , Journal of Buddhist and Hindu Art,
Architecture and Archaeology of Ancient to Premodern Southeast Asia 2019)

This particular mythology has been popular in Hindusim. If there are

millions of Hindus in India then each and every one has done a Pooja of the 9
planest at least one in his or her lifetime and many like me do it several
times a year.

The churning of the ocea n was a result of a curse by Sage Durvasa. From
this churning arose the many planets of the 9.

Once, he offered a garland to Indra, the king of Devas. Indra accepted the
garland and showed his happiness, putting the garland on his elephant,
Airavata, as an ornament. Airavata, irritated by the scent of the garland,
picked it with his trunk and threw it on the ground. Durvasa was furious and
cursed Indra and the devas to lose their kingdom, power, and glory.

As a result, Indra’s mighty vahana instantly went into oblivion. Lakshmi, the
goddess of fortune, could no longer stay in the same realm as the Devas, and
parted ways with her consort, Vishnu. She made the depths of Kshir Sagar
her new home. Due to Lakshmi’s absence in Devlok, the devas lost all their
riches. The luminous Chandra, adorning Shiva’s matted hair, disappeared

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too. Robbed of their power, the devas were soon defeated by the asuras in
battle. The defeated devas approached Lord Vishnu for a solution, who
advised them to churn Kshir Sagar, to obtai n Amrit. Amrit or the elixir of
immortality would help the devas regain their powers. The Asuras willingly
offered to assist their half -brothers since they too wanted immortality and
invincible powers by consuming Amrit.

Mount Mandara was used to churn the ocean, which was kept afloat in the
ocean by Kurma, Vishnu’s turtle avatar. The Naga king, Vasuki, who Shiva
wears as a garland, became the churning rope. Several precious
items, ratnas, emerged from the cosmic ocean which were distributed
amongst the Devas, the Asuras and the Sages.
Halahala

Illustration: Sanjay Valecha and Durgesh Velhal

The Halahala was a deadly poison that had the potential to destroy all beings
in the three realms. None amongst the armies of asuras and devas stepped in
to stop the poison from spreading into the universe as they feared the poison
would destroy them too. Lord Shiva descended from Mount Kailash to
consume the poison. Goddess Parvati, Shiva’s consort, used her powers to
stop the Halahal in Shiva’s throat, and as a result, his throat turned blue.
Thus he came to be called Neelkanth.
Airavata
Airavata, the king of elephants, was a white coloured winged being with six
trunks and six pairs of tusks. He said to dig his trunk deep into the ground
and reach water which is inaccessible to humans. He uses his trunk to spray
the water in the form of monsoon showers. After appearing from the cosmic
ocean, Airavata chose to serve his master Indra, who was delighted to reunite
with his loyal vahana.
Uchhaisravas
Often considered as the king of the horses, the seven-headed, snow-white
horse, was one of the three animals that appeared during the Samudra
Manthan. The magnificent steed was taken by Indra.
Eventually, Uchhaisravas came into the hands of King Mahabali, the asura
king, who ruled over the three worlds.
Once Goddess Lakshmi was spellbound by the beauty of Uchhaisravas and
forgot to pay attention to her consort, Vishnu. This infuriated him and he
cursed Lakshmi to be born as a mare.

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The colour of Uchhaisravas’ tail once became a topic of debate for two
sisters, Kadru and Vinata. The sisters studied the horse from a distance and
Vinata declared that the horse’s tail was white, while Kadru insisted that the
tail was black. The sisters decided to come back and see the horse the next
day. Whoever of the two had guessed the wrong colour, would have to become
the slave of the other. Kadru won the bet by treachery as she commanded her
sons, the Nagas, to cover the tail of the horse. Thus Vinata ended up
becoming Kadru’s slave.
Kamdhenu

Kamdhenu was one of the precious ratnas obtained from the cosmic ocean
and is considered to be the mother of all cattle. Kamdhenu is depicted with
the face of a woman, the body of a cow with a pair of wings and the tail of a
peacock. She was given to the Saptrishis as she provided them with ample
milk. The milk was used to prepare curd and ghee which w ere regularly
required for their sacred rituals. According to the Mahabharata, Kamdhenu
was in the possession of one of the Saptrishis, Jamadagni. The sage invited
King Kartavirya Arjuna to a feast. The greedy king learnt about the
resourcefulness of Kamdhenu and forcefully took Kamdhenu and her calf
away from the sage. The sage’s son, Parshurama, the sixth avatar or
incarnation of Vishnu, single-handedly defeated the king and his army,
successfully retrieving the sacred cow and her calf.
Apsaras
Apsaras are female heavenly spirits of Devaloka or the home of the gods.
They are associated with music and dance. After appearing from the cosmic
ocean, they chose Gandharvas as the ir companions. The Gandharvas served
as musicians in Indra’s court. Indra, who was constantly insecure about his
throne, often commanded the enchanting apsaras to distract sages or asuras
from their tapasya to achieve his own ends.
Parijat
From the depths of the ocean, sprung a divine flowering tree called the
Parijat. The flowers of the tree were white, with a tinge of orange at the stalk.
Indra decided to keep the beautiful flowering tree with the enchanting
fragrance for himself and planted the tree in h is garden in Devaloka. Yugas
later, Krishna and Indra duelled over the tree as Krishna wanted to bring the
tree bearing the scented flowers to Prithvilok for his wives Satyabha ma and
Rukmini. Eventually, Krishna defeated Indra, and took the tree. The tree has
a special significance in Hinduism, as it is forbidden to pluck its flowers and
only the fallen flowers can be used to worship deities.

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Vishnu’s Sharanga bow, Panchajanya Conch, and Kaustubh Mani

The Sharanga bow was one of the two divine bows crafted by Vishwakarma,
the architect of the gods. Vishnu used the bow in his Parshurama, Rama and
Krishna avatars. Before returning back to his holy abode, Vishnu, in th e
form of Krishna, left the bow in the possession of Varuna, the god of oceans.
In ancient times the sound of the conch signified the beginning of a war.
Vishnu’s conch, Panchajanya is a symbolic way of portraying his role as the
preserver of the universe. God steps into battlefields again and again, in
different avatars to save humanity.
Kaustubh Mani is a sacred precious gemstone that is embedded in the
necklace worn by Vishnu. The gemstone is said to be as beautiful as an
exotic lotus and as radiant as the sun.
Illustration: Sanjay Valecha and Durgesh Velhal
Chandra
The moon God Chandra appeared as one of the precious ratnas and took
refuge in the matted hair of Shiva. His father -in-law, Prajapati Daksha once
cursed him for not being a good husband to his daughters. Due to the curse,
Chandra lost his powers and his body started withering. After extensive
prayers, Shiva came to the deity’s rescue and wore him as an ornament in
his hair to neutralize the curse. However, Chandra still waxes and wanes as
a result of that curse.
Lakshmi and Alakshmi

Lakshmi is the goddess of wealth, prosperity and fortune. She is one of the
three supreme goddesses, with Saraswati and Parvati. She emerged from the
cosmic ocean draped in her red and gold saree while seated on a grand lotus
with smaller lotuses in her hands. After a long time of separation, the
goddess was finally reunited with her consort, Lord Vishnu. Her return
brought back the riches of the devas, giving Devaloka its earlier splendour.
The arrival of Lakshmi was followed by her counterpart and elder sister,
Alakshmi, who had unkempt hair and was draped in a single white cloth. She
is the goddess of misfortune, poverty and misery and is said to visit houses
filled with ego, pride, selfishness, and envy. Unlike her sister Lakshmi, who
likes sweet food, Alakshmi has an appetite for hot, sour and pungent food.
So, many Hindu households often hang lemon and chillies at their doorstep
to satisfy the appetite of the goddess of misfortune.

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Dhanvantri

Dhanvantri, the physician of the gods, appeared from the turbulent ocean
carrying the pot of Amrita. Dhanvantri was responsible for teaching the
ancient knowledge of medical science, Ayurveda, to mortals. Brahma created
Ayurveda, before he created mankind, but the vast knowledge of medical
science was difficult for mortals to understand. So, Dhanvantri split the
original text into eight divisions and taught his disciples.
Amrita

As soon as Dhanvantri appeared with the pot of Amrit, the Asuras snatched
the pot and planned to consume the entire pot of elixir. Vishnu devised a
plan and took the form of an enchanting woman, Mohini. Mohini used her
charm to lure the asuras out of hiding and used the opportunity to take the
pot back to the Devas. While the devas were co nsuming the elixir to regain
their divine strength back, one of the asuras, Rahuketu disguised himself as
a deva to taste the Amrit. However, he was discovered just as he was pouring
the liquid into his mouth. Vishnu instantly hurled the Sudarshan
Chakra and beheaded Rahuketu but the amrita had already reached the
asura’s throat. Rahuketu’s head and body were flung on opposite sides of the
universe and became Rahu and Ketu.

NINE PLANETS TEMPLE AT KONARK

The architectural use of the Navagrahas is according to the medieval convention here
in this Temple, It is here a kind of prophylatic measure for the safety of the temple and
can be seen almost in every temples in India. In the below shown example of an Indian
Temple of Konark, the lintel-slabs of all the earlier shrines of the Bhaumakara period,
there contain only the figures of eight grahas (planets). Ketu making his appearence
on the architraves from the Ganga period onwards.

In carving out the images in, their attributes are not correctly attended to. They are
made mostly alike in from, except a few in the group. Most of them are holding rosary
and kamandalu in their hands, wearing high pointed crowns and sitting on lotuses the
descriptions in the puranas.

A huge chlorite slab, 20 feet (6 metres) long, four feet (1.2 metre) high and seven feet
(2 metres) deep was used as an architrave, above the main entrance to the

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Jagamohana. This is made into nine different panels representing the Navagraha (Nine
Planets) figures and richly ornamented.

9 Graha in Konark

From Takeo Province Angkor in a Museum ABOVE RIGHT

Angkor

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In the ancient Khmer context, some divinities in the so-called 9 planet (navagrḥa )
ensemble are actually lokapāl, or ‘guardians of the world’. Identifying each individual
divinity in a systematic manner is challenging as the reliefs are found from the 7th
century CE (Sambor Prei Kuk style) until the early 13th century (Bayon style).

Four divinities maintain a fixed position over this period: on the far left are the
planets Surya and Candra, and on the far right are Rahu and Ketu. Of the other five
remaining figures, only some can be positively identified, and their positions are
interchangeable. Generally, reading from left to right, the third figure is Yama, the
fourth is Brahma, the sixth is Kubera, and the seventh is Agni. The divinity occupying
the middle position is Indra, who always appears mounted on an elephant.
Interpretation of the function of the nine divinities panels poses a second challenge
due to the fact that few have been found in their original contexts. These few were
located inside a ‘library’ set to the southeast of a temple’s main sanctuary. Even this
site contextualization has not however allowed for clear interpretation of function.

Navadevas panel from Kuk Roka temple, ca. late 12th century. Stone. National Museum of Cambodia, Phnom Penh, Ka.1658.
Deities from left: Sūrya, Candra, Yama (?), Brahmā or Varuṇa, Indra, Kubera, Agni, Rāhu and Ketu. Photograph by Chhum
Menghong

from Bihar India

______________________________________________________________________________-

Nine Deities Panel in Ancient Cambodia , Chhum Menghong , Journal of Buddhist and Hindu Art,
Architecture and Archaeology of Ancient to Premodern Southeast Asia 2019

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The construction of Angkor Wat is thought to have taken 35 years, 300,000

laborers and 6,000 elephants, according to inscriptions.
Angkor Wat was initially designed and constructed in the first half of the 12th century,
during the reign of Suryavarman II (ruled 1113 – c. 1150), as the king’s state temple
and capital city. It was built without the aid of any machinery, as there was no
machinery available at that time.

The temple walls are decorated with thousands of storytelling bas-reliefs.

The bas-reliefs on the walls represent important deities and figures in the Hindu and
Buddhist religions and key events in their narrative tradition.

Carved Bas Reliefs of Hindu Narratives

There are 1,200 square meters of carved bas reliefs at Angkor Wat, representing eight
different Hindu stories. Perhaps the most important narrative represented at Angkor
Wat is the Churning of the Ocean of Milk(below), which depicts a story about the
beginning of time and the creation of the universe. It is also a story about the victory
of good over evil. In the story, devas (gods) are fighting the asuras (demons) in order
reclaim order and power for the gods who have lost it. In order to reclaim peace and
order, the elixir of life (amrita) needs to be released from the earth; however, the only
way for the elixir to be released is for the gods and demons to first work together. To
this end, both sides are aware that once the amrita is released there will be a battle to
attain it.

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Churning of the Ocean of Milk (detail), Angkor Wat.

Siem Reap, Cambodia, 1116-1150
Churning of the Ocean of Milk (detail), Angkor Wat, Siem Reap, Cambodia, 1116-1150 (photo: John Brennan,
CC BY-ND 2.0)

The relief depicts the moment when the two sides are churning the ocean of milk. In
the detail above you can see that the gods and demons are playing a sort of tug-of-war
with the Naga or serpent king as their divine rope. The Naga is being spun on Mt.
Mandara represented by Vishnu (in the center). Several things happen while the
churning of milk takes place. One event is that the foam from the churning
produces apsaras or celestial maidens who are carved in relief throughout Angkor Wat
(we see them here on either side of Vishnu, above the gods and demons). Once the
elixir is released, Indra (the Vedic god who is considered the king of all the gods) is
seen descending from heaven to catch it and save the world from the destruction of
the demons.

The nine deities panel has been found in large numbers and existed with several
configurations of deities in ancient Cambodia. The oldest known example dates from
the pre-Angkorian period and shows the navagrahas (nine celestial bodies) in a
standing posture. The iconographic form differs on Angkorian-period panels, with the
nine deities on their individual vāhana (mount). By reanalysing the iconography of the
deities and the typological development of the panels, it is argued that this later group
represents the navadevas, a term used to designate the combination of four grahas
and five dikpālas (guardians of the directions). This study also considers issues
relating to the imagery’s meaning and significance, based on their iconographic and
architectural contexts in Khmer temples. The colocation of the navadevas and related
iconographic themes including Viṣṇu Anantaśayana, the grahas as seven ṛṣis, and the

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mātṛkās, clarifies that the imagery’s meaning relates to the celestial bodies, the
directions and the notion of cosmological order. The panel was used both as a lintel
above a temple doorway and installed inside the sanctum as an independent object
near the image of the main deity, and appears to have been especially associated with
shrines located in the southeast of a temple complex. The sig Angkor Wat is dedicated
to the Hindu god Vishnu who is one of the three principal gods in the Hindu pantheon
(Shiva and Brahma are the others). Among them he is known as the “Protector.” The
major patron of Angkor Wat was King Suryavarman II, whose name translates as the
“protector of the sun.” Many scholars believe that Angkor Wat was not only a temple
dedicated to Vishnu but that it was also intended to serve as the king’s mausoleum in
death.

Three years after King Suryavarman II came to the throne, he started the construction
of Angkor Wat most probably in the year 1116 C.E-with construction ending in 1150,
shortly after the king’s death. Evidence for these dates comes in part from
inscriptions.

Carved Bas Reliefs of Hindu Narratives

These reliefs represent eight different Hindu stories. According to ancient Sanskrit
and Khmer texts, religious monuments and specifically temples are to be organized in
such a way that they are in harmony with the universe, meaning that the temple
should be planned according to the rising sun and moon, in addition to symbolizing
the recurrent time sequences of the days, months and years. The central axis of these
temples should also be aligned with the planets, thus connecting the structure to the
cosmos so that temples become spiritual, political, cosmological, astronomical and
geo-physical centers. They are, in other words, intended to represent microcosms of
the universe and are organized as mandalas—diagrams of the universe.

In Planetary clustering and navagraha at Banteay Srei , Asger Mollerup found that an
inscription at Prasat Banteay Srey, 15 km north of Angkor Wat in Cambodia, dates the
inauguration of this Shivaite sanctuary to coincide with a planetary alignment. A
planetary clustering or planetary alignment is when the five planets visible to the
naked eye are observable at dawn or dusk above the eastern or western horizon. The
five planets form together with the sun, the moon, Rahu and Ketu the Indian concept
the Navagraha. A close gathering of the five planets is an impressive celestial event
and has been described in ancient Indian and Chinese records and calculations .1
Based on that your author predicted the performance of a Navagraha Puja or
adoration to the Gods to bless the temple and the consecration.

____________________________________________________________________

1 https://www.academia.edu/41864223/Planetary_clustering_and_navagraha_at_Banteay_Srei

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NAVAGRAHA PANELDS IN KHEMER TEMPLES

1. Navagrahas panel from Sambor Prei Kuk, ca. 7th century. Stone
2. Navadevas panel from the Bayon, ca. 13th century. Stone
3. Navadevas panel from Prasat Neang Khmau, ca. 2nd half of 9th century. Stone
4. Preah Khan temple, ca. late 12th century
5. West Mebon temple, ca. 11th century. Stone.
6. Ba Kan temple, ca. late 10th century. Stone
7. East Mebon temple, ca. 10th century. Stone
8. Preah Pithu temple, ca. late 10th century
9. Phnom Penh, Ka.3216
10. Wat Prei Phdao, near Siem Reap
11. Pedestal with 9 holes, installed on a brick terrace next to the image of Harihara, in tower
N10, North group, Sambor Prei Kuk, ca. 7th century. Stone
12. Navadevas on a lintel at Neak Ta Kong Srok temple, ca. mid-10th century. Stone
13. . Navagrahas on a pre-Angkorian lintel, provenance unknown, ca. 2nd half of 7th century.
Stone
The above clusterings of the planets is an ancient good fortune ritual or worship. Putting the
carvings of these or having small statutes or pictures in homes today is a common occurring
phenomenon in millions of hindu homes and home alters or devagriha>

CLUSTERING of GODS & GODDESSES IN HINDUISM

Clustering of Gods and Goddesses in a Hindu religion Phenomenon. In the Puranic

traditions, of course, the cluster of goddesses is elaborated as the Matrikas. The
Matrikas are, sometimes, identified with the Kritikkas, but more commonly are seen
as the female form of various gods, like Indrani of Indra, Brahmani of Brahma,
Vaishnavi of Vishnu, Narasimhi of Narasimha, Varahi of Varaha, Shivani or
Maheshwari of Shiva.

These various female gods join Durga, in the battle against the various asuras. These
goddesses became powerful as the influence of the goddess increased in Hinduism.
Another cluster that is popular nowadays is the Tantrik cluster of Maha Vidyas, the 10
wisdom deities. Some of them are the young Sodasi, the 16-year-old, or Kamala, the
full-blown lotus woman, or Dhumvati the old hag, or Baglamukhi. The idea of multiple
women also come from folk literature as the Yoginis. There are the 32 Yoginis that are
fixed on the throne of Vikramaditya who will destroy unworthy men who dare sit on
the throne. There is also the Chausat Yoginis or 64 yoginis who play music around
Shiva while Shiva dances for them. It is the reverse version of the Krishna Maharaas,
where Krishna plays the music and the gopikas dance around him. In the Yogini
Mandala, the woman play music while the man dances.

The Mahavidya ( Great Wisdoms) are a group of ten aspects of Mahadevi in Hinduism.
These.10.Mahavidyas.are Kali, Tara, Tripura Sundari

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(Shodoshi), Bhuvaneshvari, Tripura

Bhairavi, Chhinnamasta, Dhumavati, Bagalamukhi, Matangi and Kamala.

The development of the Mahavidyas represent an important turning point in

the history of Shaktism as it marks the rise of the Bhakti aspect in Shaktism, which
reached its zenith in 1700 CE. First sprung forth in the post-Puranic age, around 6th
century C.E., it was a new theistic movement in which the supreme being was
envisioned as female. A fact epitomized by texts like Devi-Bhagavata Purana,
especially its last nine chapters (31-40) of the seventh skandha, which are known as
the Devi Gita, and soon became central texts of Shaktism. In a story from the Shakta
Maha-Bhagavata Purana, which narrates the creation of all the Mahavidyas, Sati, the
daughter of Daksha and first wife of god Shiva, feels insulted that she and Shiva are
not invited to Daksha's yagna ("fire sacrifice") and insists on going there, despite
Shiva's protests. After futile attempts to convince Shiva, the enraged Sati transforms
into the Mahavidyas, who surround Shiva from the ten cardinal directions.

The ten corresponding Avatars with Mahavidyas

no. Goddess names Avatar names
1. Kali Krishna
2. Tara (Devi) Rama
3. Lalita Tripura Sundari Vamana
4. Tripura Bhairavi Varaha
5. Bhuvaneshvari Kalki
6. Chhinnamasta Narasimha
7. Matangi Parashurama
8. Bagalamukhi Kurma
9. Kamalatmika Balarama
10 Dhumavati Matsya

Similarly, Matrikas or "divine mothers" also called Matar or Matri, are a group of
mother goddesses depicted together in Hinduism. The Matrikas are often depicted in
a group of seven, the Saptamatrika(s) (Seven MothersHowever, they are also depicted
as a group of eight, the Ashtamatrika(s).

In the Brihat Samhita, Varahamihira says that "Mothers are to be made with
cognizance of gods corresponding to their names." They are associated with these gods
as their spouses or their energies (Shaktis) Brahmani emerged
Brahma, Vaishnavi from Vishnu, Maheshvari from Shiva, Indrani from Indra, Kaumar
i from Skanda, Varahi from Varaha and Chamunda from Devi, and additionals
are Narasimhi, Vinayaki.

Originally believed to be a personification of the seven stars of the star cluster

the Pleiades, they became quite popular by the seventh century and a standard
feature of goddess temples from the ninth century onwards.[8] In South India,

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Saptamatrika worship is prevalent whereas the Ashtamatrika are venerated in Nepal,

among other places.

The Matrikas assume paramount significance in the goddess-oriented sect

of Hinduism, Tantrism. In Shaktism, they are described as "assisting the great
Shakta Devi (goddess) in her fight with demons."[11] Some scholars consider
them Shaiva goddesses. They are also connected with the worship of warrior
god Skanda. In most early references, the Matrikas are associated with the conception,
birth, diseases and protection of children. They were seen as inauspicious and the
"personification of perils", propitiated in order to avoid those ills, that carried off so
many children before they reached adulthood. They come to play a protective role in
later mythology, although some of their early inauspicious and wild characteristics
continue in these legends. Thus, they represent the prodigiously fecund aspect of
nature as well as its destructive force aspect.

There are several Puranic texts related to the origin of Matrikas. Matsya
Purana, Vamana Purana, Varaha Purana, Kurma Purana and
the Suprabhedagama contain references to Matrikas, and this asserts their antiquity.

According to the Shumbha-Nishumbha story of Devi Mahatmya, Matrikas appear

as Shaktis from the bodies of the gods – Brahma, Shiva, Skanda, Vishnu,
Indra;[45] having the form of each, approached Chandika (identified with Devi) with
whatever form, ornaments and vehicle the god possessed. In that form, they slaughter
the demon army. Thus, the Matrikas are goddesses of the battlefield. They are
described as assistants of Durga having sinister as well as propitious
characteristics.] After the battle, the Matrikas dance drunk with their victim's
blood. This description is repeated with little variation in Devi Bhagavata Purana
and Vamana Purana. The Devi-Bhagavata Purana mentions three other goddesses,
Shaktis of other gods' in addition to the Saptamatrika, making a group of 10 Matrikas.

According to latter episode of Devi Mahatmya, Durga created Matrikas from herself
and with their help slaughtered the demon army. In this version, Kali is described as a
Matrika, who sucked all the blood of demon Raktabija. Kali is given the
epithet Chamunda in the text. When demon Shumbha challenges Durga to a single
combat, she absorbs the Matrikas in herself and says that they are her different
forms.[ In the Vamana Purana too, the Matrikas arise from different parts of Devi and
not from male gods although they are described and named after the male deities.

In Matsya Purana, Shiva had created seven Matrikas to combat the demon Andhaka,
who had the ability to duplicate from each drop of his blood that falls from him when
he is wounded. The Matrikas drink up his blood and help Shiva defeat the demon.
After the battle, the Matrikas begin a rampage of destruction by starting to devour
other gods, demons and peoples of the world. Narasimha, Vishnu's man-lion
incarnation, creates a host of thirty-two benign goddesses who calm down the terrible,
fire-breathing Matrikas. Narasimha commanded the Matrikas to protect the world,
instead of destroying it and thus be worshipped by mankind. At the end of the
episode, Shiva's terrible form Bhairava is enshrined with the images of the Matrikas at
the place where the battle took place. This story is retold in Vishnudharmottara
Purana.[54] Vishnudharmottara Purana further relates them with vices or inauspicious
emotions like envy, pride, anger etc.

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Navagraha are nine heavenly bodies (as well as deities) that influence human life
on Earth in Hinduism and Hindu astrology. The term is derived from nava ("nine")
and Graha (planet, seizing, laying hold of, holding).

The Navagraha are

1. Surya: the Sun
2. Chandra: the Moon
3. Mangala: Mars
4. Budha: Mercury
5. Bṛhaspati: Jupiter
6. Shukra: Venus
7. Shani: Saturn
8. Rahu: Shadow body associated with the ascending (or north) lunar node
9. Ketu: Shadow body associated with the descending (or south) lunar node

Muthuswami Dikshitar, a Carnatic music composer from southern India composed

the Navagraha Kritis in praise of the nine planets. Each song is a prayer to one of the
nine planets. The sahitya (lyrics) of the songs reflect a profound knowledge of
the mantra and jyotisha sastras.

Navagraha temples devoted to Navagraha—the nine (nava) major celestial bodies

(Grahas) of Hindu astronomy.These temples are made of stones and are very beautiful.
These celestial bodies are
named Surya (Sun), Chandra (Moon), Mangala (Mars), Budha (Mercury), Brihaspati (J
upiter), Shukra (Venus), Shani (Saturn), Rahu (North Lunar Node)
and Ketu (South Lunar Node). Many temples in South India contain a shrine dedicated
to the Navagrahas. However, the term Navagraha temples refers to a cluster of nine
separate temples, each an abode of one of the Navagrahas.

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The Temple as a Mandala- Avittathur Mahadeva Temple

Chola Temples-The Navagraha temples in Tamil Nadu are a cluster of Navagraha

Temples dating from the Chola dynasty. During the Chola dynasty
near Kumbakonam in Tamil Nadu many temples were built. The Angkor Wat is a
reflection of the Chola Religio-cultural traditions albit on a grander scale .
As per Hindu legend, Sage Kalava was suffering from serious ailments along with
leprosy. He prayed to the Navagrahas, the nine planet deities. The planets were
pleased by his devotion and offered cure to the sage. Brahma, the Hindu god of
creation, was angered as he felt that the planets have no powers to provide boons to
humans. He cursed the nine planets to suffer from leprosy and were sent down to
earth in Vellerukku Vanam, the white wild flower jungle - the modern time Suryanar
Kovil. The planets prayed to Shiva to relieve them off the curse. Shiva appeared to
them and said that the place belonged to them and they would have to grace the
devotees worshipping them from the place. Each temple is located in a different
village, and is considered an abode of one of the Navagrahas. However, eight among
these temples are dedicated to Shiva. The Surya temple is the only one dedicated to
the Graham. In fact, it is dedicated entirely to the worship of the Sun-God and the
other navagrahas, the former being the object of worship as the principal deity and the
latter as attendant deities. It was built around the 11th or 12th century. The other
temples were built earlier, ranging back to 7th-9th century.

1. Surya Navagrahastalam -- Sooriyanar Kovil (Thanjavur District)

2. Chandra Navagrahastalam -- Thingalur (Thanjavur District)
3. Angaarakan Navagrahastalam -- Vaitheeswaran Kovil (Mayiladuthurai district)
4. Budha Navagrahastalam -- Thiruvenkadu (Mayiladuthurai district)
5. Guru Navagrahastalam -- Alangudi(Thiruvarur District)
6. Sukra Navagrahastalam -- Kanjanur (Thanjavur District)
7. Shani Navagrahastalam -- Thirunallar (Karaikal)
8. Raahu Navagrahastalam -- Thirunageswaram (Thanjavur District)
9. Ketu Navagrahastalam -- Keezhperumpallam (Mayiladuthurai district)
10. Angineeshwar temple -- Birth place of Lord Sanieeswarar and Lord
Yematharmar, Kodiyalur, Thirumeyachur, Thiruvarur District.

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Legand- As per Hindu legend, Sage Kalava was suffering from serious ailments along
with leprosy. He prayed to the Navagrahas, the nine planet deities. The planets were
pleased by his devotion and offered cure to the sage. Brahma, the Hindu god of
creation, was angered as he felt that the planets have no powers to provide boons to
humans. He cursed the nine planets to suffer from leprosy and were sent down to
earth in Vellurukku Vanam, the white wild flower jungle - the modern time Suryanar
Kovil. The planets prayed to Shiva to relieve them off the curse. Shiva appeared to
them and said that the place belonged to them and they would have to grace the
devotees worshipping them from the place. This is the only temple where there are
separate shrines for each of the planet deities.

The Changed positions of the Dieties in the Cambodian relics highlights the
importance of comparing to Khmer iconography, rather than considering only the
Indian context. The deities occupying the third, fourth, sixth and seventh positions
appear to change positions here, and are variously mounted on a bird, antelope, goat,
horse, bull, buffalo or rhinoceros. Scholars including Bhattacharya and Malleret have
previously suggested different identifications of these deities based on their vāhana.
For instance, a deity riding a haṃsa bird appears especially in fourth position,
Navgraha – the nine planets as per Hinduism.
However, I would not attach too much importance to this because in Hinduism,
Various Gods have become favourite of the populous depending on the time, i.e. like a
trend. Today for instance SHANI is very popular in India, because the Planet as an
astrological landmark on lives of people is the supposed root cause of impediments in
life. Ganesh, on the other hand, is a revered God without getting a place on the 9 for
the simple reason that he is Vignaharta or remover of obstacles.

A close up of detailed carvings of

Ganesha elephant and monkey Buddhist mythology. In black and white. At the Angkor Wat temple
complex in Siem Reap, Cambodia

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In Vedic astrology, there are 9 planets. These are known as Nav (9) and grahas (planets ).
Navgraha

The nine bodies (navagraha)

1. Sun (Soorya)
2. Moon (Chandra)
3. Mars (Mangla/Sevvai)
4. Mercury (Budha)
5. Jupiter (Guru)
6. Venus (Sukra)
7. Saturn (Shani)
8. Upper lunar node (Rahu)
9. Lower lunar node (Ketu)

Surya
Surya is the chief, the solar deity, one of the Adityas, son of Kasyapa and one of his
wives Aditi, of Indra. He has hair and arms of gold. His chariot is pulled by seven
horses, which represent the seven chakras. He presides as “Ravi” over “Ravi-vaara” or
Sunday.

Surya the sun God |

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In Hindu religious literature, Surya is notably mentioned as the visible form of God
that one can see every day. Furthermore, Shaivites and Vaishnavas often regard Surya
as an aspect of Shiva and Vishnu, respectively. For example, the sun is called Surya
Narayana by Vaishnavas. In Shaivite theology, Surya is said to be one of eight forms of
Shiva, named the Astamurti.
He is said to be of Sattva Guna and represents the Soul, the King, highly placed
persons or fathers.
According to Hindu scriptures, among the more renowned progenies of Surya are
Shani (Saturn), Yama(God of Death) and Karna (Mahabharata fame).
Stotra:
Javaa kusuma sankasam kashyapeyam mahadutim
Tamorim sarva paapghnam pranatosmi divakaram
Chandra

Mangal///Chandra the Moon God |

Chandra is a lunar deity. Chandra (moon) is also known as Soma and identified with
the Vedic Lunar deity Soma. He is described as young, beautiful, fair; two-armed and
having in his hands a club and a lotus. He rides his chariot (the moon) across the sky
every night, pulled by ten white horses or an antelope. He is connected with dew, and
as such, is one of the gods of fertility. He is also called Nishadipati (Nisha=night;
Adipathi=Lord) and Kshuparaka (one who illuminates the night).
He as Soma, presides over Somavaaram or Monday. He is of Sattva Guna and
represents the Mind, the Queen or Mother.
Stotra:
Dadhi shankha tushaarabham ksheero darnava sambhavam
Namaami shashinam somam shambhor mukuta bhooshanam.

Mangala

Mangala is Bhauma (‘son of Bhumi’ or Bha) in Sanskrit. He is the god of war and is
celibate. He is considered the son of Prithvi or Bhumi, the Earth Goddess. He is the
owner of the Aries and Scorpio signs, and a teacher of the occult sciences (Ruchaka
Mahapurusha Yoga). He is of Tamas Guna in nature and represents Energetic action,

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confidence and ego. He is painted red or flame colour, four-armed, carrying a trident,
club, lotus and a spear. His Vahana (mount) is a ram. He presides over ‘Mangala-
vaara’ or Tuesday.
Stotra:
Dharanee garbha sambhootam vidyut kaanti samaprabham
Kumaram shakti hastam tam mangalam pranamamyaham.
Budha
Budha is the god of the planet Mercury and the son of Chandra (the moon) with Tara
(Taraka). He is also the god of merchandise and protector of merchants. He is of Rajas
Guna and represents Communication.

Guru or Jupiter | Budha |

He is represented as being mild, eloquent and of greenish colour. He is represented

holding a scimitar, a club and a shield, riding a winged lion in Ramghur temple. In
other illustrations, he holds a sceptre and lotus and rides a carpet or an eagle or a
chariot drawn by lions. Budha presides over ‘Budha-vaaram’ or Wednesday.
Stotra:
Priyangu kalika shyaamam roopena pratimam budham
Soumyam soumya gunopetam tam budham pranamamyaham
Guru
Brihaspati is the Guru of Devas, personification of piety and religion, the chief offerer
of prayers and sacrifices, represented as the Purohita of the gods with whom he
intercedes for men. He is the Lord of planet Jupiter. He is of Sattva Guna and
represents knowledge and teaching. He is often known simply as “Guru”.
According to Hindu scriptures, he is the guru of the Devas and the nemesis of
Shukracharya, the guru of the Danavasa. He is also known Guru, the god of wisdom
and eloquence, to whom various works are ascribed, such as the “atheistic”
Barhaspatya sutras. Guru is usually depicted with an elephant or chariot drawn by
eight horses as his vehicle. He is also depicted in a lotus flower.
His Tattva or element is Akasha or ether, and his direction is north-east. He is
described of yellow or golden colour and holding a stick, a lotus and his beads. He
presides over ‘Guru-vaaram’, Brihaspativaara or Thursday.

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Stotra:
Devanaam cha rishinaam cha gurum kaanchan sannibhaam
Buddhi bhootam trilokesham tam namaami brihaspatim.
Shukra
Shukra, Sanskrit for “clear, pure” or “brightness, clearness”, is the name the son of
Bhrigu and Ushana, and preceptor of the Daityas, and the guru of the Asuras,
identified with the planet Venus (Shukracharya). He presides over ‘Shukra-vaara’ or
Friday. He is Rajas in nature and represents wealth, pleasure and reproduction.

Shani or Saturn | Shukra or Venus |

He is of white complexion, middle-aged and of agreeable countenance. He is described
variously mounted, on a camel or a horse or a crocodile. He holds a stick, beads and a
lotus and sometimes a bow and arrow.
Stotra:
Hima kundaa mrinalaabham daityanaam paramam gurum
Sarv shastra pravaktaaram bhargavem pranamamyaham.
Shani
Shani is one of the nine primary celestial beings in Hindu astrology (that is, Vedic
astrology). Shani is embodied in the planet Saturn. Shani is the son of Surya. His
Tattva or element is air, and his direction is west. He is Tamas in nature and
represents learning the hard way, Career and Longevity.

The origin of word Shani(शनि) comes from the following: Shanaye Kramati Sa: (शिये
क्रमनि सः) i.e. the one who moves slowly. Shani is actually a demi-god and is a son of
Surya (the Hindu Sun God) and surya’s wife Chhaya. It is said that when he opened
his eyes as a baby for the very first time, the sun went into an eclipse, which clearly
denotes the impact of Shani on astrological charts (horoscope).

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He is depicted dark in colour, clothed in black; holding a sword, arrows and two
daggers and variously mounted on a black crow or a raven. He presides over ‘Shani-
var’ or Saturday.
Stotra:
Neelanjana samaabhasam ravi putram yamagrajam
Chaaya martanda sambhootam tam namaami shanaischaram.
Rahu
Rahu is God of the Ascending / North lunar node. Rahu is the head of the demonic
snake that swallows the sun or the moon causing eclipses, according to Hindu
scriptures. He is depicted in art as a dragon with no body riding a chariot drawn by
eight black horses. He is a Tamas Asura who does his best to plunge any area of one’s
life he controls into chaos. The rahu kala is considered inauspicious.

Rahu the lod of the Ascending According to

legend, during the Samudra manthan, the asura Rahu drank some of the divine
nectar. But before the nectar could pass his throat, Mohini (the female avatar of
Vishnu) cut off his head. The head, however, remained immortal and is called Rahu,
while the rest of the body became Ketu. It is believed that this immortal head
occasionally swallows the sun or the moon, causing eclipses. Then, the sun or moon
passes through the opening at the neck, ending the eclipse.
Stotra:
Ardha Kaayam mahaa veeryam chandraditya vimardhanam
Simhika garbha sambhootam tam rahum pranamaamyaham.
Ketu

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Ketu the Lord of Descending

Ketu is the Lord of Descending. He is considered as Tail of the Demon Snake. It is
believed to have a tremendous impact on human lives and also the whole creation. In
some special circumstances it helps someone achieve the zenith of fame. He is Tamas
in nature and represents supernatural influences.
Stotra:
Palaash pushpa sankaasham taraka graha mastakam
Roudram roudraatmakam ghoram tam ketum pranamaamyaham.
Graha Stuti:
Brahma, Muraari, Sripuraantakaari, Bhanu, Shashi, Bhoomisuto, Budhascha
Guruscha, Shukra, Shani, Rahu, Ketavah, kuruvantu sarve mama suprabhatam
These Navagrahas fall under the the Hindu Astronomy and play a major part in the
Hindu astronomical sphere. The Hindu astronomy whose origin dates back to the time
of Vedas is concerned with the placement of nine planets and their influence on the
world and on an individual. According to the Hindu astrology, the position of the
planets when a person is born determines his potential in life.
The nine planets collectively are called Navagrahas. These 9 planets are worshipped by
Hindus to overcome any hindrance, obstacle or bad luck. They are found mostly in all
the temples and faithful believers pray to the Navagrahas before they pray to any other
deity.
Out of those nine planets, seven are named after the planets in the Solar System and
the other two are actually demons who managed their way into this group by trickery –
Rahu and Ketu. Depending upon their location in the planetary system, they are
deemed either auspicious or inauspicious. While Navagrahas are found in every
temple, there are some temples that are solely dedicated to them. One such temple is
the Navagraha temple located in the outskirts of Ujjain.

A number of scholars have undertaken research on ancient Khmer sculpted

representations of the called navagroḥ or phkāy nabagroḥ. The first person to have
studied this topic in detail was Kamaleswar Bhattacharya1 . Soon after, Louis Malleret

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wrote a summary of the issues at hand. The panels even today in Cambodia are
sculpted with nine divine figures – hence the appellation of naba (or nava in Sanskrit),
meaning nine. On the other hand, the use of the second term, groḥ, to name this
iconographic type is not entirely accurate, because, of the 9 figures, some are indeed
groḥ (planets) while others are just divinities. In Sanskrit, the word groḥ or graha refers
to the planets - places distinct from our earth. The discrepancy I note only occurs in
the Cambodian context. In India, the nine divinities are the navagraha, corresponding
to the seven days of the week plus Rahu who is considered to be a planet connecting
two planets, with Ketu, also called a comet.

GEMSTONES & 9 BODIES

These 9 Celestial bodies is what influences use of 9 gemstones which are tied to
mythological concepts around cosmology and astrology and the "Navagrahas", or "nine
celestial gods". In Thailand, the Navaratna is officially recognised as a national
and royal symbol of the king. A high award given by the king is called "Noppharat
Ratchawaraphon" (the Ancient Auspicious Order of the Nine Gems).

Ribbon of the Order

The decoration consists of a single class (Knight). The insignia is:
 Pendant of the Nine Gems, on a yellow sash with a red, blue and green trims, worn
over the right shoulder of the left hip (for men). For women, the Pendant of the
Nine Gems is attached onto a silk ribbon, worn on the front left shoulder.
 Star of the Nine Gems, to wear on the left chest
 Gold Ring of the Nine Gems, for men, to wear on the right ring finger.

Late Thai astrologer Horacharn Thep Sarikabutr has given the meaning of these nine
gems in his Parichad-Jataka (chapter 2, verse 21, page 35–36) translated as follows
"Top quality and flawless ruby is the gem for the Sun, natural pearl for the Moon, red
coral for Mars, emerald for Mercury, yellow sapphire for Jupiter, diamond for Venus,
blue sapphire for Saturn, hessonite for Rahu (ascending lunar node), and cat's eye for
Ketu (descending lunar node)."
This quote attributed to the Sanskrit "Brihat Jatak" is also quoted in the "Mani-mala"
page 575, verse 79 by S.M. Tagore (1879), and also in the ancient "Jataka Parijata,"
chapter 2, sloka 21 compiled by Sri Vaidyanatha Dikshitar,
माणिक्यं तरिेः सुजात्यममलं मुक्ताफलं शीतग ेः
माहयस्य च णिद्रु मं मरकतं सौम्यस्य गारुत्मतम
दिज्यस्य च पु ष्पराजमसुराचायय स्य िज्रं शनेः
नीलं णनमयलमन्यय श्च गणदत ग मदिैदूययक
and reads in Sanskrit transliterated as follows:
māṇikyaṃ taraṇeḥ sujātyamamalaṃ muktāphalaṃ śītagoḥ
māheyasya ca vidrumaṃ marakataṃ saumyasya gārutmatama
devejyasya ca puṣparājamasurācāryasya vajraṃ śaneḥ
nīlaṃ nirmalamanyayośca gadite gomedavaidūryake
Translation:
 Ruby (māṇikyaṃ) for Surya (taraṇeḥ) (Sun),

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 Pearl (muktāphalaṃ) for Chandra (Moon),

 Red coral (vidrumaṃ) for Mangala (māheya) (Mars),
 Emerald (maratakaṃ) for Budha (saumya) (Mercury),
 Yellow sapphire (puṣparājaṃ) for Bṛhaspati (devejya) (Jupiter),
 Diamond (vajraṃ) for Shukra (asurācārya) (Venus),
 Blue sapphire (nīlaṃ) for Shani (Saturn),
 Hessonite (gomeda) for Rahu (the ascending lunar node)
 Cat's eye (vaidūryaṃ) for Ketu (the descending lunar node),
"...these gems must be high-born and flawless."
The traditional setting and arrangement of these
nine gems is shown in the illustration. A ruby
(representing the Sun) is always in the center,
surrounded (clockwise from the top) by a diamond,
a natural pearl, red coral, hessonite, a blue
sapphire, cat's eye, a yellow sapphire, and an
emerald. This is the same placement as the Nava-
graha Yantra.
Traditionally, no gem other than a ruby or a red
spinel is set in the center of a nine gems
arrangement. To do so is believed to go against the
flow of nature. Because the Sun is the center of
the solar system, its gem is positioned in the heart
of a Navaratna Talisman.
For an example of the navaratna in a necklace
setting, see Thailand's "The Queen
Sirikit Navaratna."

Thailand's "Queen Sirikit Navaratna"

necklace.

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