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Lajja Gauri
Lajja Gauri
Lajja Gauri
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Lajjā Gaurī is a lotus-headed Hindu goddess associated with abundance, fertility and sexuality, sometimes euphemistically described as Lajja ("modesty"). She is sometimes shown in a birthing posture, but without outward signs of pregnancy.[1]

6th century Lajja Gauri relief from Madhya Pradesh

History

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Main article: History of Shaktism

Early depictions of Lajja Gauri in Shaktism were found in the Indus Valley seals,[2] though her later depiction dates to the 1st-3rd centuries, and her worship is prevalent in the Deccan, a region of the Indian subcontinent.

Iconography

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Her fertility aspect is emphasized by symbolic representation of the genitals, yoni or the womb, as a blooming lotus flower denoting blooming youth in some cases and in others through a simple yet detailed depiction of an exposed vulva. She is sitting in a squatting position (malasana) with legs open, as in during childbirth, in some cases, the right foot is placed on a platform to facilitate full opening. She is invoked for abundant crops (vegetative fertility) and good progeny. A blossoming lotus replaces her head and neck, an icon often used in Tantra. The seven chakras of human energy anatomy are often depicted as blossoming lotuses, and the goddess is often depicted in her Sri Yantra as a yoni, shown as a simplified triangle at the centre. This is a feature present in all the Kohbar Mithila paintings which are worshipped by newlyweds in a Maithil wedding.

Further, most fertility goddesses of the ancient world are similarly shown headless, while giving prominent focus to the genitals.[3] The arms of the goddess are bent upwards, each holding a lotus stem, held at the level of the head again depicted by the matured lotus flower.

Owing to an absence of verifiable text in Vedic traditions on the iconography, she does not seem to hold any exalted position in Hindu pantheon, despite her strong presence throughout India, especially in the tribal region of Bastar in Central India and downwards to the South. The goddess is sometimes called Lajja Gauri, interpreted by some as the Innocent Creatrix, the Creator deity[4] or at times simply "Headless Goddess", or Aditi Uttanapada [2] by modern archeologist, academicians and Indologists.[2]

The majority of the terracotta figurines were carved in the Gupta and post-Gupta periods.[2]

Worship

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Icons of Lajja Gauri have been found in different villages, and local people identify her with other goddesses such as Aditi, Adya Shakti, Renuka and Yallamma.[5] A notable sculpture of her dating to 150-300 CE was found at Amravati (now kept at State Museum, Chennai),[6] Tribal areas of Central India, Andhra Pradesh, Karnataka, where the town of Badami, known for the Badami Cave Temples, has a sculpture of the deity preserved at the local Archeological Museum, originally found in Naganatha Temple, Naganathakolla, Bijapur District,[7] and has an extant temple dedicated to the goddess in Badami Chalukya Architecture, within the town precincts dating to Chalukya Empire which flourished around the 6th century AD.[8] Maithili people worship Lajja Gauri during the marriage.She is an integral part of the Kohbar Mithila Painting which is kept in the nuptial chamber of newly weds.

Another arguable interpretation by Dr. Ramachandra C. Dhere in his book entitled Lajja Gauri is that Lanja/Lanjika means 'naked', which reminds us of the geographical area in Konkan (Maharashtra), called Lanja.

Symbolism and Hinduisation

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The pose in which the Indian goddess Lajja Gauri is depicted is known as the uttanapad pose. Her head is substituted by a full-bloomed lotus flower. During the 19th century, when the British archaeologists discovered these images for the first time, they were shocked by the indecent eroticism and the shamelessness of such nude representations. The squatting, life-sized nudes were in stark contrast to their Victorian idea of decent morality and femininity. However, that was a classic case of conundrum born out of two distinct cultures interacting with each other. In Indian art and aesthetics, the Gauri's uttanapad pose, that is how she sits with her knees bent and legs drawn up to the sides of her abdomen, signifies creation. Therefore, Lajja Gauri, as her name lajja suggests, represents modesty. She is an aspect of Gauri, that is a form of Parvati, the consort of Shiva, who is modest and shy, directly opposite to the interpretations of British archeologists who labelled these images as a nude–heathen representation of eroticism.[9]

This Gauri image is always associated with distinct symbols that connote the idea of fortune and fertility, explicitly signifying her powers. The three major symbols are: the Lotus, the Brimming Pot and the Srivastava. The lotus in Indian art styles connotes creation, fertility and fortune. It symbolizes an intergenerational transference of the reproductive potential and stands for the cyclical journey of life. The brimming pot resembles the yoni or the womb. The overflowing pot is similar to the image of cornucopia suggesting affluence and abundant creative potential. Moreover, the arrangement of the torso, the large breasts, and the flower buds flanking the bloomed lotus on the head are similar to the purna kalasha design popular in all Hindu rituals and festivals since the Vedic times. The Srivastava in Indian art suggests a notion of creative fullness and fortune. It is usually depicted with a triangle, cross-shaped flower, or whorl-shaped arrangement. This juxtaposed metaphors of the lotuses and srivastavas could also be found at Bhahrut and Sanchi. A comparison could be made with the form of the Lajja Gauri. Carol Bolon does such a reading.[10] The Srivastava highlights her affinity to Lakshmi and her various forms, such as Sri and Gaja-Lakshmi. Like Lajja Gauri, all these are also goddesses of well-being and prosperity.[10]

The image of the goddess, and her worship, originated in tribal areas and/or local villages. She was a gramadevi, revered in her aniconic form. Mature images of her anthropomorphic forms can be seen in the Elephanta Caves (dated 500 CE), in the Ellora Caves (dated 550 CE), and throughout Gujarat during the 6th and 7th centuries. These mature representations hint at the beginning of her induction in the Brahminical fold of worship. Her Hinduisation paved the way for her entry into the temples, and slowly, even her mythological imagination also changed. She began to be associated with Shiva, was given a vahan, sakti's lion, and was gradually merged into the image of the goddess. She was also shown with Shiva's bull and lingam. In Andhra Pradesh, in various plaques and lintels, her image could be spotted with other major Hindu deities. One of the major contributing factors to Lajja Gauri's transformation from an esoteric personfied representational image to a full-fledged Hindu goddess was royal patronage, particularly the attention extended to her by the Chalukya kings.[9]

The quality and the quantity of the production of her images during the Early Chalukya rule suggests her popularity, and the royal patronage she enjoyed during the period. In many temples, dating back to the time, these images continue to be worshipped. This presents before us a continuous contemporary framework in which to locate this goddess. Temples like Telangana's Bala Brahma Temple, and the Lakulisa Temple at Karnataka, are some famous examples. These temples are frequented by childless women, couples, and newlyweds, seeking for fertility and power of procreation. They worship the goddess with ghee, powders, and flowers and perform the pradakshina around the sanctum sanctorum.[9]

In 2022, artist Lyla FreeChild wrote an essay for Period Matters: Menstruation in South Asia, explaining how Lajja Gauri had appeared to her in a dream, where she was, herself, the bleeding goddess. This inspired her to make a painting using her menstrual blood, to capture and portray the fertility and feminine creativity of the menstruating body. A detail from the visual of the painting is on the book cover. The artist's work, Adya Shakti, is included in the anthology. It shows the menstruating goddess with lotus flowers floating in a crimson sea.

Further reading

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See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Lajja Gauri

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from Grokipedia
Lajja Gauri is a Hindu goddess prominently featured in from the 2nd to 11th centuries CE, symbolizing creation, abundance, prosperity, and the regenerative power of the female body. She is typically depicted in the uttanapada posture—squatting with knees raised, heels together, and feet flat on the ground—explicitly displaying her vulva to evoke themes of birth and sexual fecundity, often without a swollen belly to indicate . Her frequently replaces the head with a lotus flower or bud, representing purity, life force, and cosmic renewal, while her body emphasizes exaggerated feminine attributes such as full breasts and wide hips to underscore . The goddess's images evolved through four main forms, progressing from abstract, minimal representations (such as a simple with emerging lotuses) to more anthropomorphic figures with arms holding lotuses or other symbols of wealth, like pitchers or frogs, reflecting her role as a bestower of good fortune. This development spans regions including (e.g., ), the Deccan, , , and , with the most elaborate examples dating to the during the peak of her cult's popularity. Carved in stone on temple walls, lintels, and votive plaques, these motifs draw from ancient traditions, possibly originating in tribal worship before integration into broader Hindu and even Buddhist contexts, as seen in 6th-century caves at where she appears alongside to invoke blessings. Lajja Gauri's significance lies in her embodiment of principle, linking (lajja) with unashamed celebration of , and she continues to be interpreted in modern scholarship as a potent of women's life-affirming in cosmic order. Despite varied regional styles, her core symbolism remains consistent, associating her with Tantric traditions, , and the worship of yakshis (nature spirits), highlighting the interplay of sexuality, , and in Indian .

Etymology and Mythological Origins

Name and Etymology

Lajja Gauri derives its name from the terms lajjā, meaning "," "," or "bashfulness," and gaurī, which translates to "fair," "white," "shining," or "brilliant," and functions as an epithet for the goddess , the consort of in Hindu traditions. The composite name thus conveys "the Modest Fair One" or "Goddess of Modesty," encapsulating a revered feminine within . Alternative euphemistic designations for Lajja Gauri include Lajja Devi, emphasizing her aspect as a modest , and Adi , highlighting her primordial divine energy. In regional variants, particularly in South Indian folk traditions, she is equated with , the mother of , and Yellamma, a popular village associated with protection and fertility. This nomenclature embodies a profound : the prefix lajjā underscores themes of bashfulness and propriety, yet the goddess is intrinsically linked to explicit motifs of and female sexuality, functioning as a cultural to veil and sacralize such elements in traditional contexts. Some linguistic analyses propose that lajjā may trace to older Dravidian or roots like lanji or lanjika, connoting "adulteress" or "harlot," which further accentuates the ironic duality of modesty and uninhibited vitality in her identity.

Mythological Associations

In , Lajja Gauri is associated with through a popular etiological narrative that explains her origin as a form embodying amid creation. According to this account, after their marriage, and retreated to a cave on for intimate union. When asuras began troubling the devas and the earth, the gods and sages intruded upon the couple seeking 's intervention. Startled and ashamed (lajja), covered her face with a lotus leaf, transforming into the lotus-headed figure known as Lajja Gauri, symbolizing the balance of shame and generative power in cosmic renewal. This myth underscores her role as a devoted consort tested in devotion, linking her directly to 's attributes of and marital harmony. Lajja Gauri is further identified with the Vedic goddess , the boundless mother of the gods (), who represents infinity, freedom, and the primordial source of creation in the Rig Veda. This equivalence highlights her as an ancient maternal , evoking Aditi's nurturing yet infinite essence in sustaining the universe. In regional folk traditions, she merges with local mother figures such as , the devoted wife of sage and mother of , revered for her purity and sacrificial , and Yellamma (also known as Yellama), a village goddess associated with protection and progeny. These identifications reflect her adaptation into diverse cultural narratives, where she embodies maternal devotion and communal well-being. Within Tantric traditions, Lajja Gauri manifests as an aspect of , the dynamic feminine energy responsible for cosmic manifestation and spiritual awakening. As a Shakti of , she represents the union of (consciousness) and prakriti (nature), facilitating creation through her generative form. Her symbolism aligns with Tantric concepts of sacred sexuality and abundance, often integrated into Shakta practices that emphasize the goddess's power in rituals of and . This role positions her within broader Tantric frameworks, where she evokes the creative potential inherent in divine .

Historical Development

Ancient Origins

Possible prehistoric antecedents of Lajja Gauri have been suggested in the Indus Valley Civilization (circa 3300–1300 BCE), where seals and figurines of female figures have been interpreted by some scholars as early motifs emphasizing regeneration and abundance. These images, often featuring exaggerated hips and exposed genitalia, prefigure later and indicate a pre-Vedic substratum of worship focused on agricultural and reproductive cycles. In early historic , during the 1st to 3rd centuries CE, Lajja Gauri emerges more distinctly through terracotta figurines unearthed at Deccan sites, including in present-day , where these artifacts predate significant Hindu assimilation and reflect localized fertility cults. These small, hand-modeled figures, often found in domestic or village contexts, portray nude female forms in birth-giving postures, underscoring her role in agrarian communities before broader religious integration. Such discoveries highlight a continuity from prehistoric motifs into the post-Mauryan period, with the Deccan region serving as a key hub for their production and veneration. Lajja Gauri's origins are rooted in tribal and village-level (gramadevi) traditions, where she was initially revered in aniconic form as a brimming pot symbolizing the womb and cosmic abundance, gradually evolving into anthropomorphic representations within indigenous cults. This transition from symbolic vessel to embodied deity underscores her foundational ties to folk practices, emphasizing fertility and protection in pre-urban and rural settings across central and southern . She bears brief mythological associations with , the Vedic boundless mother figure, linking her to primordial creation themes.

Medieval and Later Periods

During the and post- periods (4th–6th centuries CE), imagery proliferated across central and southern , particularly in terracotta figurines that reflected her role in cults among local communities. These artifacts, often small-scale votive objects, have been unearthed at sites in Bastar (present-day ) and regions of , indicating widespread grassroots veneration integrated into emerging Hindu traditions. The -era examples, such as those from and , show variations like the uttanapad (squatting) form and lotus-headed types without arms, marking a transition from earlier indigenous motifs to more standardized under imperial patronage. This era's socio-political stability facilitated the deity's expansion from tribal worship to broader cultural expression, with terracotta medium emphasizing accessibility in rural and semi-urban settings. In the , the in provided significant royal patronage to Lajja Gauri, elevating her from folk artifacts to monumental stone sculptures in elite temple contexts. This support, evident under early Chalukya rulers, aligned the goddess with Shaiva and Tantric practices, as seen in the caves and associated sites where life-size images were incorporated into temple complexes. The transition to stone at , dating from the onward, symbolized her institutionalization within dynastic art, with sculptures in the local Archaeological Museum exemplifying the fertility cult's integration into state-sponsored religious architecture. Such patronage reflected the Chalukyas' strategy to legitimize rule through divine feminine symbolism, blending local traditions with pan-Indian Hindu elements amid regional power dynamics, with the cult reaching its peak popularity in the 7th–8th centuries. Lajja Gauri's presence persisted in regional folk traditions through the medieval era into the 19th–20th centuries, primarily among subaltern and tribal groups in central and southern , though colonial-era documentation remained sparse due to the deity's association with non-elite, oral-based practices. Artifacts and rituals linked to her, often under syncretic names like or Ellamma, continued in votive terracotta and communal , sustaining her associations outside mainstream textual records. Her veneration continues among tribal communities in areas such as Bastar and parts of , with increased scholarly documentation in recent decades highlighting her enduring role in indigenous heritage preservation.

Iconography

Core Features

Lajja Gauri icons are most commonly depicted in the uttanapad pose, a or birth-giving position where the legs are raised and spread apart, with the knees bent and drawn to the sides, prominently emphasizing the () as the central motif of the composition. This pose highlights the lower , often transitioning into a pot-like form or adorned with symbolic elements that draw attention to the reproductive area. The figure's or semi-nudity underscores the exposure of the genitalia, typically without clothing but occasionally accented by jewelry such as necklaces, armlets, or anklets on the legs and . The head is characteristically absent, replaced by a lotus flower emerging from the neck or shoulders, symbolizing purity and growth, though variations include a full lotus head or, less frequently, a human head bowed in modesty. When arms are present, they are raised upward, often holding lotus stems, buds, or flowers that extend from the body, integrating the floral elements directly into the torso to evoke emergence from the womb. The overall body form features an anthropomorphic female torso with exaggerated breasts and wide hips, crafted to convey fullness and vitality, while the lower portion may merge into a rounded pot (representing abundance) or remain distinctly human. These sculptures are primarily produced in terracotta or stone, with early examples dating to the 2nd–4th centuries CE, such as the terracotta figure from Ter, (ca. 100–399 CE), and stone variants from sites like , (3rd–4th century CE). Sizes vary from small votive objects (2–6 inches) to larger temple pieces, reflecting their use in both personal and contexts across ancient Indian sites.

Artistic Variations

Lajja Gauri depictions exhibit notable regional variations, adapting the standard uttanapada pose—where the figure squats with raised knees and splayed legs—to local artistic traditions and materials across . The iconography evolved through four main forms: Form I (abstract, pot-like torso without head, arms, or breasts, 3rd–4th century CE, southern ); Form II (extended torso with breasts and lotus head, no arms, 4th–10th century CE, ); Form III (full torso with breasts, lotus head, and upraised arms holding lotus buds, 4th–9th century CE, , , Andhra, ); and Form IV (fully anthropomorphic with human head, arms holding lotuses, 7th–8th century CE, northern ). In the Deccan region, particularly , sculptures often feature more ornate stone carvings integrated into temple architectures, emphasizing elaborate details such as floral motifs and accompanying figures like attendants or divine mothers. For instance, at sites like and , these carvings include multi-figure compositions with the flanked by Saptamatrika, highlighting her role in cults through intricate reliefs measuring 3-4 feet in height. In , tribal forms from areas like Bastar display simpler terracotta figurines, characterized by an exaggerated symbolizing abundance and sometimes incorporating animal motifs to evoke natural vitality and local . These earthy, less polished pieces contrast with southern elaborations, focusing on raw symbolic potency rather than architectural integration. Northern influences appear in stylized representations, such as those in Maithili Kohbar paintings from , where the goddess is integrated into wedding art with floral elements encircling the lotus-head and torso, blending her form with motifs of marital and . In , rare metal icons, often in , present compact variations with prominent reproductive attributes, reflecting a blend of regional and metallurgical traditions.

Symbolism and Interpretations

Fertility and Creation

Lajja Gauri's prominently features the , often depicted as a central, stylized or womb, symbolizing the earth's generative core and the origin of all life. This motif, combined with an emerging lotus from the head or central form, represents the blossoming of creation from primordial , evoking the womb of the where seeds of existence take root. In Deccan regional cults, particularly in areas like northern , , and , these symbols are tied to agricultural abundance, where the goddess is invoked to ensure bountiful harvests and ward off in and alike. Scholars trace Lajja Gauri's generative role to Vedic creation myths, identifying her as an embodiment of , the boundless mentioned extensively in the Rig Veda as the source of infinite progeny and the gods themselves. Aditi, meaning "the unbound," signifies endless and the cosmic of without limit, mirroring Lajja Gauri's form in its emphasis on perpetual birth and renewal. This connection underscores a cyclical view of creation, where life emerges, sustains, and regenerates in an eternal loop, reflecting the Vedic notion of cosmic order () sustained through divine maternity. The uttanapad pose, with raised legs, serves as a visual cue for this birthing process in her depictions. In Tantric traditions, Lajja Gauri's form aligns with the geometric patterns of the Sri Yantra (also known as Sri Chakra), a sacred diagram comprising nine interlocking triangles that radiate outward in layered bindus, symbolizing the progressive manifestation of the universe from subtle energy to material form. This alignment positions her as a visual embodiment of Shakti's creative descent, where the yoni-lotus motif echoes the yantra's central point of origin, facilitating meditative realization of cosmic generation. Such interpretations integrate her into broader Shaiva-Tantric practices, emphasizing her role in the unfoldment of divine multiplicity from unity.

Modesty and Empowerment

The of Lajja Gauri presents a profound paradox: her name, meaning "modest" or "ashamed" Gauri (a form of ), contrasts sharply with her nude, exposed squatting posture, which Western scholars in the labeled as "shameless" or "indecent." This depiction, however, symbolizes dignified vulnerability associated with , where the goddess's open form evokes the raw power and exposure of labor without intent, rooted in ancient fertility cults that revered the life-giving female body as sacred rather than obscene. According to a traditional etiological , Lajja Gauri emerges from Parvati's shame during an intimate encounter with , where her head transforms into a lotus to her embarrassment, blending with divine . Post-2020 feminist reinterprets Lajja Gauri as an emblem of female and menstrual power, challenging patriarchal norms that stigmatize women's bodies by celebrating her form as a site of spiritual authority and reproductive sovereignty. In this view, her image inspires contemporary movements to reclaim the sacredness of and , positioning the goddess as a counterforce to historical shame imposed on women's natural cycles. Her representation of sacred sexuality finds brief parallels in cross-cultural contexts, such as the Mesopotamian goddess Inanna/Ishtar, whose rituals embraced divine feminine eroticism and fertility, though Lajja Gauri's iconography remains distinctly anchored in Hindu traditions.

Worship and Cultural Role

Traditional Practices

In rural communities of the Deccan and , Lajja Gauri was revered as a gramadevi, or village , particularly among subaltern groups seeking agricultural and prior to the . Worship typically occurred at simple shrines or under sacred trees, where devotees offered earthen pots filled with water symbolizing abundance, grains as emblems of , and occasionally animal blood sacrifices to invoke bountiful yields and protection from crop failures. These practices, rooted in pre-modern folk traditions, emphasized her role in sustaining community livelihood through seasonal rituals conducted by local priests or women elders. Lajja Gauri also featured prominently in life-cycle rites, integrating her symbolic into matrimonial and familial customs. In Maithili communities of and , Kohbar paintings— wall art created during weddings—feature a central lotus motif surrounded by auspicious symbols like and to bless newlyweds with marital harmony and progeny. Similarly, in Karnataka's or Yellamma festivals, devotees participated in ecstatic possession s where women embodied the goddess to fulfill vows for health, , or family well-being, culminating in communal feasts and offerings at her shrines. These observances underscored her protective essence in transitional life stages. Under Chalukya patronage in the 6th to 7th centuries CE, temple-based worship of Lajja Gauri flourished at sites like in , incorporating formalized observances such as ritual anointings with oils and milk to honor her generative power, alongside processions carrying her icon through temple precincts during festivals. These royal-endorsed practices blended folk elements with emerging Tantric influences, elevating her from village altars to structured temple liturgy while maintaining focus on communal . Her symbolic association with creation reinforced these devotions, ensuring continuity in agrarian societies.

Contemporary Significance

In the post-independence era of , ancient temples dedicated to Lajja Gauri have continued to serve as vital sites for worship, particularly among communities seeking remedies for . The 7th-century Chalukya-period Lakulisa Temple at Siddhanakolla in Bagalkot, , and the Bala Brahma Temple at Alampur in remain active places of devotion, where childless women and couples perform rituals such as around the goddess's image and the application of to her for blessings of conception. These practices blend enduring folk traditions with local customs, including the construction of miniature dolmen-like structures by pilgrims as symbolic offerings for progeny, reflecting a continuity of pre-modern rituals adapted to contemporary rural life. Lajja Gauri's veneration persists in tribal regions like Bastar in , where she is revered among indigenous communities for her associations with abundance and , often integrated into daily and seasonal folk observances. In urban contexts, her has been reinterpreted through feminist art installations and exhibitions in the , emphasizing themes of women's bodily and rights; for instance, contemporary artists such as Abhijna Vemuru have depicted her in works exploring womanhood and mythology. These modern adaptations contrast traditional village rites by framing her as an emblem of empowerment against patriarchal constraints. Scholarly interest in Lajja Gauri has grown modestly since 2020, with research linking her imagery to and reproductive health; for example, studies note her worship during festivals like Rajo Parba in , where devotees invoke her for resolving menstrual irregularities and challenges. Recent analyses, such as a 2024 paper on her feminist legacy, connect her symbolism to broader discussions of gender rights and spirituality, while eco-feminist interpretations tie her to by portraying her as a nurturing force akin to earth's regenerative cycles. This evolving scholarship underscores her relevance in addressing contemporary issues of and ecological balance.

References

  1. https://www.researchgate.net/publication/381856100_MOTIVES_OF_LAJJA_GAURI_IN_INDIAN_ART_A_STUDY
  2. https://www.metmuseum.org/art/collection/search/38492
  3. https://mapacademy.io/many-forms-many-lives-lajja-gauri-in-indian-art/
  4. https://aims.vmis.in/caa-exhibitions/exhibition/goddess-lajja-gauri-in-indian-art/
  5. https://www.academia.edu/122007369/A_Study_of_Lajja_Gauri_Images_from_Gujarat
  6. https://journals.ub.uni-heidelberg.de/index.php/jiabs/article/download/8771/2678/8579
  7. https://www.newindianexpress.com/opinions/2021/Apr/29/lajja-gauri-fertility-cult-mother-goddess-worship-2296166.html
  8. https://article.sciencepublishinggroup.com/pdf/ash.20210704.15
  9. https://www.academia.edu/44269016/LAJJA_GAURI_OR_GODDESS_OF_FERTILITY
  10. https://archive.org/details/formsofgoddessla0000bolo
  11. https://www.scitepress.org/Papers/2023/125003/125003.pdf
  12. https://www.academia.edu/5246382/Lajja_Gauri_the_goddess_of_sexuality_from_Mesopotamia_to_India
  13. https://www.academia.edu/59731164/The_Origin_and_Genesis_of_a_Fertility_Deity_Prehistoric_Antecedents_of_the_Lajjagauri_Cult_and_New_Discoveries_in_South_Asia
  14. https://artandpopularculture.com/Aditi_Uttanpad
  15. https://www.academia.edu/115477861/The_Archaeological_and_Religious_History_of_Lajj%25C4%2581gaur%25C4%25AB_a_Pre_Vedic_Fertility_Deity_on_the_Indian_Sub_continent
  16. https://organiser.org/2024/06/14/242515/bharat/lajja-gauri-unveiling-symbol-of-creation-and-fertility-debunking-western-indologists-label-of-shameless-woman/
  17. https://www.academia.edu/115477861/The_Archaeological_and_Religious_History_of_Lajj%C4%81gaur%C4%AB_a_Pre_Vedic_Fertility_Deity_on_the_Indian_Sub_continent
  18. https://www.academia.edu/40201243/Devi_in_Hindu_temple_iconography_Harappa_to_Gupta_period
  19. https://www.incredibleindia.gov.in/en/karnataka/badami/archaeological-museum
  20. https://doi.org/10.29121/shodhkosh.v5.i1.2024.1068
  21. https://deepblue.lib.umich.edu/bitstream/handle/2027.42/89785/hkadambi_1.pdf
  22. https://www.motilalbanarsidass.com/products/forms-of-the-goddess-lajja-gauri-in-indian-art
  23. https://books.google.com/books/about/An_Image_of_Aditi_Uttanapad.html?id=VM52jwEACAAJ
  24. https://www.researchgate.net/publication/266423316_Sri_Yantra_Geometry
  25. https://magazines.odisha.gov.in/Orissareview/2009/September/engpdf/137-138.pdf
  26. https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/3057
  27. https://www.thedreamingmachine.com/aadya-shakti-or-primal-energy-lyla-freechild/
  28. https://www.historyonthenet.com/sacred-marriage-and-sacred-prostitution-in-ancient-mesopotamia
  29. https://www.jstor.org/stable/42931321
  30. https://enrouteindianhistory.com/kohbar-paintings-for-marital-bliss/
  31. https://academic.oup.com/book/1545/chapter/141012605
  32. https://www.saatchiart.com/art/Painting-Lajja-Gauri/2469805/11767273/view
  33. https://rooftopapp.com/blogs/shame-and-sexuality-examining-lajja-gauri-through-the-eyes-of-the-contemporary
  34. https://www.indica.today/quick-reads/rajo-parba-rejoicing-menstruation-womanhood/
  35. https://www.researchgate.net/publication/387922944_LAJJA_GAURI%27S_LEGACY_FEMINIST_PERSPECTIVES_ON_SPIRITUALITY_AND_GENDER_RIGHTS
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