Controversy Over Bharat Mata's Portrayal: National symbol or political icon?

The iconography of ‘Bharat Mata’ evolved rapidly during India’s nationalist movement, and what we are witnessing today is arguably an outcome of that.

A controversy has recently erupted surrounding the portrayal of ‘Bharat Mata’ in a contemporary context. The ruling Left Democratic Front (LDF) in Kerala has termed the portrayal of ‘Bharat Mata’ with a saffron flag as a partisan symbol, reflecting not a national iconography but one closely associated with the Rashtriya Swayamsevak Sangh (RSS) and ‘Hindutva’. Traditionally, the Left has argued that depicting Bharat Mata as a Hindu goddess (often modelled after Durga or other Hindu deities) imposes a religious identity on a secular and diverse nation.

Responding to a question regarding this controversy, the Akhil Bharatiya Prachar Pramukh (All India in-charge of publicity) of the RSS, Sunil Ambekar, said in a press conference on July 7 that people need to understand history — the idea of Bharat Mata did not originate with the RSS. It’s a much older concept, and even during the freedom movement, this image was widely embraced.

Bharat Mata and Nationalist Movement

It may be recalled that the motherland has been deified as a manifestation of the divine in several of our ancient scriptures, and hence, to worship it was important as it would bring prosperity for the whole world. The iconography of ‘Bharat Mata’ evolved rapidly during India’s nationalist movement, and what we are witnessing today is arguably an outcome of that.

In recent times, it was Bankim Chandra Chatterjee who created an imagery of the motherland as a deity, i.e., ‘Bharat Mata’, that gave a new impetus to Indian nationalism from the late 19th century onwards.

Bankim Chandra Chatterjee (1838–1894) from North 24 Parganas in West Bengal was among the few prominent Indian civil servants under the British Raj to valiantly raise his voice against foreign rule. His revolutionary work, Anandamath (The Abbey of Bliss), had a significant impact on nationalist movements in India. First serialized in a Bengali journal, Anandamath was published as a book in 1882. Its popularity led to its translation into English and major Indian languages. Set in the backdrop of 18th-century Bengal, passing through a transitional phase, from native to British rule, it kindled aspiration and nationalistic zeal among people to fight for their emancipation. It revolves around the chief character, Mahendra, a landlord devastated by the famine of 1773, who dedicates his life to the cause of his motherland after meeting the rebel ascetic “Santans” (the children of Hindu Dharma), who were fighting to free their mother—the land that gave birth to them—from the clutches of British exploitation. Personifying the nation as a mother goddess, Anandamath advocated for the Santans to renounce wealth and family and be devoted to serve the motherland. The song Vande Mataram (I revere thee, mother), sung by the revolutionaries in the book, subsequently became a war cry all across India, signifying resistance to British rule and epitomizing a national identity.

Bankim Chandra imagined India as a divine Mother figure and vividly described her attributes:

"O Mother, you are knowledge and faith,

It is your image we install in every temple.

You are Durga, armed with ten weapons,

Lakshmi, playing among the lotuses,

And Saraswati, the goddess of speech and wisdom.

To you, I bow."

(Original: “Tumi vidya, tumi dharma… Tomarayi pratima gari mandire mandire…”)

Over time, this divine vision evolved into a visual representation: Bharat Mata, the Mother Goddess riding a lion, with the map of India in the background. This image, deeply rooted in the spirit of Vande Mataram, became a prominent symbol of the nationalist movement.

Other interpretations also emerged—most notably Abanindranath Tagore’s 1905 painting of Bharat Mata, which portrayed her as a serene, saffron-clad ascetic (sadhvi), devoid of weapons. However, this peaceful depiction did not resonate with the assertive nationalist sentiment of that period. It contrasted starkly with Bankim Chandra’s portrayal, which was infused with imagery of strength and power:

"Thunderous with the cries of seventy million voices,

And the gleam of swords in the hands of twice seventy million,

Who dares call you weak, O Mother?

Bearer of boundless power,

Saviour of your children,

Vanquisher of enemies—

To you, O Mother, I bow."

(Original: “Saptkoti kunth kal kal ninaad karle… Ripudal vaarini mataram…”)

Similarly, passionate was Bengali poet Dwijendralal Roy, who wrote:

"The day you rose from the deep blue sea, O Mother Bharat,

The world echoed with joy, laughter, and devotion."

Sri Aurobindo further intensified this devotional nationalism. In 1907, he declared unequivocally, “Nationalism is a religion—it has come from God.” He later identified it as being one with Sanatan Dharma and expressed it as a sacred devotion to the Goddess herself.

Ancient Idealism in Modern Context

Bipin Chandra Pal, one of the leading lights of India’s nationalist movement, put this whole debate around ‘Bharat Mata’ aptly in his seminal work The Soul of India (published in 1911), “The reawakening of national consciousness and aspirations in India in our own time has revived the ancient idealism of the Shakti cult; and Durga, Kalee, Jagaddhatree, Bhavanee, and all the other great forms and symbols used by the Hindu Shakti-worshippers, have received a new meaning.”

“These old and traditional gods and goddesses, who had lost their hold upon the modern mind, have been re-installed with a new historic and nationalist interpretation in the mind and soul of the people. Hundreds of thousands of our people have commenced to hail their motherland today as Durga, Kalee, Jagaddhatree. These are no longer mere mythological conceptions or legendary persons or even poetic symbols. They are different manifestations of the Mother. This Mother is the Spirit of India.”

Earlier RSSFACTS columns can be read here.