Parvati

==Legends==
[[File:Ellora-caves-1.jpg|thumb|Wall carvings in the 6th-century [[Ellora Caves]]: A scene depicting ''[[Kalyanasundara]]'' – the wedding of Shiva (four-armed figure, right) and Parvati (two-armed, left).]]
The [[Purana]]s tell the tale of [[Sati (goddess)|Sati]]'s marriage to Shiva against her father [[Daksha]]'s wishes. The conflict between Daksha and Shiva gets to a point where Daksha does not invite Shiva to his [[yagna]] (fire-sacrifice). Daksha insults Shiva when Sati comes on her own. She immolates herself at the ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires, and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the daughter of Himavat and Mainavati,<ref name = Maina>{{cite book | url=https://books.google.com/books?id=s3jXAAAAMAAJ | title=Śaivism Under the Imperial Cōl̲as as Revealed Through Their Monuments | author=Sita Narasimhan | year=2006 | page=100 | publisher=Sharada Publishing House | isbn=9788188934324}}</ref> and is named Parvati, or "she from the mountains", after her father Himavant who is also called king ''Parvat''.{{sfn|Kinsley|1988|p=42}}<ref name=wjw300>{{harvnb|Wilkins|2001|pp=300–301}}.</ref><ref>In the [[Ramayana]], the river goddess [[Ganges in Hinduism|Ganga]] is the first daughter and the elder sister of Parvati ({{harvnb|Wilkins|2001|p=294}}).</ref>

According to different versions of her chronicles, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. Indra sends the god [[Kamadeva|Kama]] – the Hindu god of desire, erotic love, attraction, and affection, to awake Shiva from meditation. ''Kama'' reaches Shiva and shoots an arrow of desire.<ref name=jl503>James Lochtefeld (2005), "Parvati" in The Illustrated Encyclopedia of Hinduism, Vol. 2: N–Z, pp. 503–505, Rosen Publishing, {{ISBN|0-8239-2287-1}}</ref> Shiva opens his third eye in his forehead and burns the cupid ''Kama'' to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, [[yogi]]n and [[Tapas (Sanskrit)|tapas]]. This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems.<ref name=jl503/> Parvati refuses to listen and insists on her resolve. Shiva finally accepts her and they get married.<ref name=jl503/>{{sfn|Kinsley|1988|p=43}} Shiva dedicates the following hymn in Parvati's honor,

<blockquote>
I am the sea and you the wave,<br>
You are [[Prakṛti]], and I [[Purusha]].<br>– Translated by Stella Kramrisch<ref>Stella Kramrisch (1975), The Indian Great Goddess, History of Religions, Vol. 14, No. 4, pp. 235–265</ref>
</blockquote>

[[File:Family of Shiva.JPG|thumb|300px|Parvati with Shiva and sons Ganesha (leftmost) and Kartikeya (rightmost). Parvati is depicted with green complexion, denoting dark complexion.]]
After the marriage, Parvati moves to [[Mount Kailash]], the residence of Shiva. To them are born [[Kartikeya]] (also known as Skanda and Murugan) – the leader of celestial armies, and [[Ganesha]] – the god of wisdom that prevents problems and removes obstacles.<ref name=edwardbalfour/><ref>Ganesa: Unravelling an Enigma By Yuvraj Krishan p.6</ref>

There are many alternate Hindu legends about the birth of Parvati and how she married Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala.{{sfn|Wilkins|2001|pp=240-1}} According to Devi Bhagavata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess [[Adi Parashakti]]. Pleased, Adi Parashakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. The stories go through many ups and downs until Parvati and Shiva are finally married.<ref name=alain3>Alain Daniélou (1992), Gods of Love and Ecstasy: The Traditions of Shiva and Dionysus, {{ISBN|978-0892813742}}, pp 82–87</ref>

Kalidasa's epic ''[[Kumarasambhavam]]'' ("Birth of Kumara") describes the story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of [[Kamadeva]], the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented [[Shakta]] texts, that she is said to transcend even Shiva, and is identified as the Supreme Being.{{sfn|Kinsley|1988|p=41}} Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolize at once both the power of renunciation and asceticism and the blessings of marital felicity.

Parvati thus symbolizes many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the latter represented by Shiva.{{sfn|Kinsley|1988|p=46}} Renunciation and asceticism is highly valued in Hinduism, as is the householder's life – both feature as [[Ashramas]] of ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen on nurturing worldly life and society.<ref name=jl503/> Numerous chapters, stories, and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life.

Parvati tames Shiva with her presence. When Shiva does his violent, destructive [[Tandava]] dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own [[Lasya]] dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.{{sfn|Kinsley|1988|pp=46–48}}

[[File:Uma Maheshvara, central India, probably late 1000s to 1100s AD, buff sandstone - Dallas Museum of Art - DSC05053.jpg|thumb|Shiva and Parvati as ''Uma-Maheshvara''; 11th-century sculpture.]] 
Three images are central to the mythology, iconography, and philosophy of Parvati: the image of [[Shiva]]-[[Shakti]], the image of Shiva as [[Ardhanarishvara]] (the Lord who is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati,<ref>{{Cite web |last=Manish |first=Kumar |title=Lord Shiva and Parvati Images |url=https://socialstatusdp.com/lord-shiv-parvati-images/ |archive-url= |website=SocialStatusDP.com}}</ref> yield a vision of reconciliation, interdependence, and harmony between the way of the ascetic and that of a householder.{{sfn|Kinsley|1988|p=49}}

The couple is often depicted in the [[Puranas]] as engaged in "dalliance" or seated on [[Mount Kailash]] debating concepts in Hindu theology. They are also depicted as quarreling.{{sfn|Kennedy|1831|p=334}} In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolizes the union of a male and female in "ecstasy and sexual bliss".{{sfn|Tate|2006|p=383}} In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as ''[[Uma–Maheshvara|Uma-Maheshvara]]'' or ''Hara-Gauri'') or as ''[[Annapoorna devi|Annapurna]]'' (the goddess of grain) giving alms to Shiva.{{sfn|Coleman|2021|p=65}}

Shaiva's approaches tend to look upon Parvati as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten [[Mahavidyas]] (Wisdom Goddesses) of Shakta [[Tantra|Tantrism]]. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out manifests in the form of ten terrifying goddesses who block Shiva's every exit.

David Kinsley states,

{{blockquote|The fact that [Parvati] can physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.{{sfn|Kinsley|1988|p=26}} }}

{{multiple image
 | direction = horizontal
 | width1 = 168
 | width2 = 200
 | footer = ''[[Ardhanarishvara]]'' – the Hindu concept of an ideal couple as complementing union, inspired by Siva-Parvati. Ardhanarishvara in [[Elephanta Caves]] (left), and as an androgynous painting with one half Shiva, the other Parvati.<ref name=mbw3/>
 | image1 = Ardhanari.jpg
 | image2 = God marriage AS.jpg
 }}
; Ardhanarisvara
Parvati is portrayed as the ideal wife, mother, and householder in Indian legends.<ref>Wojciech Maria Zalewski (2012), The Crucible of Religion: Culture, Civilization, and Affirmation of Life, {{ISBN|978-1610978286}}, pp 136</ref> In Indian art, this vision of the ideal couple is derived from Shiva and Parvati as being half of the other, represented as ''Ardhanarisvara''.<ref>Betty Seid (2004), The Lord Who Is Half Woman (Ardhanarishvara), Art Institute of Chicago Museum Studies, Vol. 30, No. 1, Notable Acquisitions at The Art Institute of Chicago, pp. 48–49</ref> This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati, respectively.<ref name=mbw3>MB Wangu (2003), Images of Indian Goddesses: Myths, Meanings, and Models, {{ISBN|978-8170174165}}, Chapter 4 and pp 86–89</ref><ref>A Pande (2004), Ardhanarishvara, the Androgyne: Probing the Gender Within, {{ISBN|9788129104649}}, pp 20–27</ref>

; Ideal wife, mother, and more
In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows – being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband is her friend, refuge, and god.<ref name=aptm>[https://archive.org/stream/mahabharataofkri08royp#page/670/mode/2up Anucasana Parva] The Mahabharata, pp 670–672</ref> She finds happiness in her husband's and her children's physical and emotional nourishment and development. Their happiness is her happiness. She is cheerful even when her husband or children are angry; she is with them in adversity or sickness.<ref name=aptm/> She takes an interest in worldly affairs beyond her husband and family. She is cheerful and humble before family, friends, and relatives; she helps them if she can. She welcomes guests, feeds them, and encourages a righteous social life. Parvati declares her family life and home are heaven in Book 13 of the Mahabharata.<ref name=aptm/>

Rita Gross states,<ref name=rmg286/> that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in the mythology of India. Parvati, along with other goddesses, is involved with a broad range of culturally valued goals and activities.<ref name=rmg286/> Her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects state Gross,<ref name="rmg286"/> reflects the Hindu belief that the feminine has a universal range of activities, and her gender is not a limiting condition. 

Parvati is seen as the mother of two widely worshipped deities {{mdash}} [[Ganesha]] and [[Kartikeya]].

; Ganesha
Hindu literature, including the [[Matsya Purana]], [[Shiva Purana]], and [[Skanda Purana]], dedicates many stories to Parvati and Shiva and their children.{{sfn|Kennedy|1831|p=353-4}} For example, one about Ganesha is:
: Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated, lost his temper, and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She demanded that Shiva restore Ganesha's life at once. Shiva did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant-headed deity.<ref>Paul Courtright (1978), Ganesa: Lord of Obstacles, Lord of Beginnings, Oxford University Press, {{ISBN|9780195057423}}</ref><ref>Robert Brown (1991), Ganesh: Studies of an Asian God, SUNY Press, {{ISBN|978-0791406564}}</ref>