[10] Durga is seen as a motherly figure and often depicted as a beautiful woman, riding a lion or tiger, with many arms each carrying a weapon and often defeating demons.

[32] There are many epithets for Durga in Shaktism and her nine appellations are (Navadurga): Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayini, Kalaratri, Mahagauri and Siddhidatri.

[40] This single mention describes Kali as "terrible yet swift as thought", very red and smoky coloured manifestation of the divine with a fire-like flickering tongue, before the text begins presenting its thesis that one must seek self-knowledge and the knowledge of the eternal Brahman.

[41] Durga, in her various forms, appears as an independent deity in the Epics period of ancient India, that is the centuries around the start of the common era.

A primitive form of Durga, according to Chanda, was the result of "syncretism of a mountain-goddess worshipped by the dwellers of the Himalaya and the Vindhyas", a deity of the Abhiras conceptualised as a war-goddess.

Durga then transformed into Kali as the personification of the all-destroying time, while aspects of her emerged as the primordial energy (Adya Sakti) integrated into the samsara (cycle of rebirths) concept and this idea was built on the foundation of the Vedic religion, mythology and philosophy.

The 6th-century CE inscriptions in early Siddhamatrika script, such as at the Nagarjuni hill cave during the Maukhari era, already mention the legend of her victory over Mahishasura (buffalo-hybrid demon).

[55] Durga as a demon-slaying goddess was likely well established by the time the classic Hindu text called Devi Mahatmya was composed, which scholars variously estimate to between 400 and 600 CE.

The Trimurti combined their power, and gave a physical form to the sum of their divine energy, Adi Shakti, a warrior woman with many arms.

Vishnu offers Durga the task of transferring the seventh child of Devaki into the womb of Rohini, as well as being born on earth as the infant daughter of Yashoda and Nanda, so that she could be swapped with Krishna.

Her iconography typically resonates with these attributes, where she rides a lion or a tiger,[1] has between eight and eighteen hands, each holding a weapon to destroy and create.

[68][69] In Hindu arts, this tranquil attribute of Durga's face is traditionally derived from the belief that she is protective and violent not because of her hatred, egotism or getting pleasure in violence, but because she acts out of necessity, for the love of the good, for liberation of those who depend on her, and a mark of the beginning of soul's journey to creative freedom.

[69][70][71] Durga traditionally holds the weapons of various male gods of Hindu mythology, which they give her to fight the evil forces because they feel that she is shakti (energy, power).

[72] These include the chakra (divine discus), conch, bow, arrow, sword, javelin, trishula trident, shield, mace, pink Lotus Flower and a noose.

[73] These weapons are considered symbolic by Shakta Hindus, representing self-discipline, selfless service to others, self-examination, prayer, devotion, remembering her mantras, cheerfulness and meditation.

[75] Durga iconography has been flexible in the Hindu traditions, where for example some intellectuals place a pen or other writing implements in her hand since they consider their stylus as their weapon.

[75] Archeological discoveries suggest that these iconographic features of Durga became common throughout India by about the 4th century CE, states David Kinsley – a professor of religious studies specialising on Hindu goddesses.

[76] In the north wall of a granite cave in Mamallapuram, Tamil Nadu there is a large relief of Durga slaying Mahisasura, carved around 630–674 CE.

[78] In Vaishnavism, Durga and her mount of a lion, is considered one of the three aspects or forms of Goddess Lakshmi, the other two being Sri and Bhu, in place of Niladevi.

[79] According to professor Tracy Pintchman, "When the Lord Vishnu created the gunas of prakriti, there arose Lakshmi in her three forms, Sri, Bhu and Durga.

[81] While anthropomorphic icons of her, such as those showing her riding a lion and holding weapons, are common, the Hindu traditions use aniconic forms and geometric designs (yantra) to remember and revere what she symbolises.

Her temples, worship and festivals are particularly popular in eastern and northeastern parts of Indian subcontinent during Durga puja, Dashain and Navaratri.

The festival is celebrated by communities by making special colourful images of Durga out of clay,[87] recitations of Devi Mahatmya text,[86] prayers and revelry for nine days, after which it is taken out in procession with singing and dancing, then immersed in water.

[88] The 11th or 12th century Jainism text Yasatilaka by Somadeva mentions a festival and annual dates dedicated to a warrior goddess, celebrated by the king and his armed forces, and the description mirrors attributes of a Durga puja.

In South India, especially Andhra Pradesh, Dussera Navaratri is also celebrated and the goddess is dressed each day as a different Devi, all considered equivalent but another aspect of Durga.

In Bangladesh, the four-day-long Sharadiya Durga Puja is the most important religious festival for the Hindus and celebrated across the country with Vijayadashami being a national holiday.

[110][111] The Sacciya mata found in major medieval era Jain temples mirrors Durga, and she has been identified by Jainism scholars to be the same or sharing a more ancient common lineage.

[113] Durga is exalted as the divine in Dasam Granth, a sacred text of Sikhism that is traditionally attributed to Guru Gobind Singh.

[114] According to Eleanor Nesbitt, this view has been challenged by Sikhs who consider Sikhism to be monotheistic, who hold that a feminine form of the Supreme and a reverence for the Goddess is "unmistakably of Hindu character".

[118] Durga statues have been discovered at stone temples and archaeological sites in Vietnam, likely related to Champa or Cham dynasty era.