The Devi Bhagavata Purana, by presenting the Divine Mother as the supreme reality rather than a subsidiary deity, has quietly but powerfully shaped how the Goddess is envisioned in sacred spaces and arts. In temple iconography, this text undergirds the central, independent placement of the Goddess as Mahashakti, especially in shrines where forms such as Lalita Tripurasundari, Bhuvaneshvari, or Rajarajeshvari are the primary deities. Its theology, which understands Durga, Lakshmi, Sarasvati, Kali and others as emanations of one Mahadevi, supports multi-murti arrangements such as Navadurga or Mahavidya groupings, as well as the integration of Sri Chakra and other yantras into the sanctum. Sculptural and painted depictions of Devi’s battles with asuras, and of her cosmic sovereignty over the Trimurti, draw directly on its narrative and philosophical vision, so that the Goddess appears not merely as a heroic figure but as the very ground of creation, preservation, and dissolution.

This scriptural vision also informs a rich visual culture beyond the temple walls. Illustrated manuscripts in regions such as Bengal, Odisha, and the Himalayan belt have drawn on the Purana’s descriptions of Devi’s forms, abodes, and attendants, giving rise to narrative cycles in miniature painting, murals, and folk art. Scenes of Devi confronting Mahishasura or Shumbha–Nishumbha are not only episodes of mythic combat but visual meditations on the triumph of the supreme Shakti over ignorance and disorder. In many Śākta milieus, festival images and temporary shrines present the Goddess as a cosmic queen and universal mother, echoing the Purana’s portrayal of her as the source and refuge of all beings.

In the performing arts, the Devi Bhagavata Purana provides both storyline and inner mood. Classical and regional dance traditions draw on its accounts of Devi’s exploits and her many roles—warrior, mother, sovereign, and giver of wisdom—to shape abhinaya and choreography. Pieces performed during Navaratri and other Śākta observances often embody this layered characterization: the same Devi who fiercely subdues demons is also approached as the tender, all-forgiving Mother and as the subtle, metaphysical reality beyond form. Such performances become a kind of moving theology, translating the Purana’s synthesis of bhakti and Shakta metaphysics into gesture, rhythm, and expressive nuance.

Music and sacred song likewise bear the imprint of this text. The hymns, stotras, kavacas, and name-litanies associated with the Devi Bhagavata Purana are recited and sung in rāga-based forms during festivals such as Navaratri, Durga Puja, and in Śrīvidyā-related worship. In various regions, Śākta kirtan and devotional song traditions are shaped by its theology of the Goddess as compassionate universal mother and ultimate liberator, even when the lyrics are not direct quotations. Through such sung devotion, the Purana’s vision of the Divine Mother as both intimate and transcendent, both accessible and awe-inspiring, continues to resonate in the hearts of practitioners and to guide the aesthetic choices of musicians, temple planners, and ritual specialists alike.