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www.dollsofindia.com Dus Mahavidyas the Ten Forms of the Devi

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Hinduism is probably the only religion in the world which talks about Shakti (the Sacred Feminine) concept as being equal in power to the Parabrahma or the Supreme Divine. ccording to Hinduism! the elements o" Shakti (the "emale or the Prakruti) and Shiva (the male or the Purusha) are two parts o" a whole. #hile they are incomplete by themselves! they "orm a balanced! harmonious whole together. Shakti! as the name itsel" suggests! means $Strength$. %ord Shiva has stated time and again that He is nothing without His companion! &oddess Shakti. 'his clearly depicts the important role play by the (other &oddess in the Hindu pantheon. )n this article! we bring you the story about the 'en (ahavidyas o" Hindu mythology.

The Dus Mahavidyas

'he name! $(ahavidyas$! comes "rom the Sanskrit roots o" (aha! which means great and *idya! meaning! #isdom! +nowledge! (ani"estation or ,evelation. 'he Dus (ahavidyas or the 'en &oddesses are actually ten aspects o" the Devi or the Divine (other in Hinduism. 'hese are &oddesses o" #isdom and represent an entire spectrum o" divinity! right "rom horri"ic goddesses! to the most beauti"ul and peace"ul deities. 'he (ahvidyas! as a group! represents a vital turning point in the history o" Shaktism! as it marks the rise o" -hakti in Shaktism. 'his movement reached its peak in ./00 1.2. 1ommencing during the post3Puranic era! in about the 4th century 1.2.! this new theistic movement envisioned the supreme being as a "emale. )mportant Hindu te5ts such as the Devi3-hagavata Purana! especially in the seventh skandha! which are known as the Devi &ita! talk about the Devi6s powers. 'his soon became the central te5ts o" Shaktism.

The Ten Goddesses

)n Shaktism! the Divine (other is 7ointly worshipped as a combination o" ten di""erent cosmic personalities. She is seen as the 8ne 'ruth in ten di""erent "acets 3 the Dus (ahavidyas. #hat sets the (ahavidyas "rom other Devi "orms is that are considered 'antric nature. 'hey take the "ollowing names and mani"estations9 .. +ali9 'his $Devourer o" 'ime$ is worshipped as the very essence o" the -rahman or the Supreme Sel". +ali is regarded as the Supreme Deity o" +alikula systems :. 'ara9 'he &oddess who Saves! &uides and Protects. She o""ers the ultimate knowledge necessary "or salvation. 'his (ahavidya is also known as ;eel Saraswati <. %alita 'ripura3Sundari9 'he &oddess! also known as Shodashi! is the 8ne #ho is the (ost -eauti"ul in the 'hree #orlds. She is the Supreme Deity o" the Srikula systems. She is also the $'antric Parvati$ or the $(oksha (ukuta$. =. -huvaneshwari9 'his &oddess is the (other or >anani o" the whole world 3 Her

entire -ody is the 1osmos @. -hairavi9 'he Fierce #arrior &oddess 4. 1hhinnamasta9 'he Sel"3Decapitated &oddess! who holds her own neck in her hands /. Dhumavati9 'he #idow &oddess or the &oddess o" death. A. -agalamukhi9 'he &oddess #ho ParalyBes 2nemies C. (atangi9 'he $'antric Saraswati$! also the Prime (inister o" %alita .0.+amala9 'he $'antric %akshmi$! also the &oddess on the %otus ...)nterestingly! according to the (ahabhagavata Purana and -rhaddharma Purana! Shodashi and 'ripura Sundari are regarded as one deity with two di""erent names. .:.'he &uhyatiguyha3tantra relates the (ahavidyas with *ishnu6s ten avatars or mani"estations. )t also states that the (ahavidyas are the source "rom which the avatars o" *ishnu mani"ested. ll o" the above ten "orms o" the &oddess are worshiped as aspects o" the universal (other.

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$egend of the Dus Mahavidyas

ccording to the (ahabhagvata Purana! the (ahavidyas mani"ested as a result o" an argument between Shiva and Sati! the earlier incarnation o" Devi Parvati. Sati6s "ather! +ing Daksha! disapproved o" his daughter6s love "or Shiva. He was "urther incensed when Sati went on to marry Him. Daksha organiBed a great yagna (sacri"icial ritual) to which he invited everyone e5cept his daughter and son3in3law. Furious! Sati insisted on attending the sacri"ice! in spite o" Shiva "orbidding her "rom doing so. Her anger trans"ormed Sati into a terrible presence! which multiplied into the ten (ahavidyas. 'hese &oddesses 7ointly subdued Shiva6s resistance and thereby! Sati proceeded ahead to attend the sacri"icial ritual.

#et another legend of the Mahavidyas

'here is yet another legend about the birth o" the (ahavidyas. Shiva and Parvati are believed to have played numerous love games with each other. 8n one such occasion! things went a bit too "ar with a mock "ight! with Shiva threatening to walk out on Parvati. 'he Devi tried to ca7ole her %ord into not leaving her. -ut Shiva re"used to listen to her and tried to move away "rom her. Parvati then decided to take ten di""erent "orms o" hersel"! each "acing one o" the ten directions. 'hus Shiva was unable to escape "rom her! as he would "ind one aspect o" her standing in each o" the directions he turned! guarding it! preventing him "rom escaping. 'his made Shiva realiBe the true degree o" their eternal love and also! that Shakti6s power was much superior to his own. 'he Devi demonstrated her own endless powers to Shiva! also making him realiBe many essential truths in the process. 'his is why these ten aspects o" the Devi are called (ahavidyas 3 the great &oddesses o" #isdom. 'hese truths apply to mortals as well. 'he (ahavidyas are the &oddesses who collectively guide us! inspiring us to search "or and "ind the spiritual beings lying dormant within us. %et us now go ahead and learn more about each o" these power"ul Dus (ahavidyas.

%ali & the 'ternal (ight

$Kali Kali Mahakali Kalike Papanasini Khadgahaste Mundahaste Kali Kali Namostu Te$ +ali is regarded as one o" the "iercest deities in Hinduism. 'he word +ali arises "rom the Sanskrit word $+aal$! which means time. 'his is also why &oddess +ali is sometimes re"erred as the &oddess o" Death. )n actuality! though! +ali is the slayer o" the ego in a person. study o" the &oddess reveals that she only killed evil demons! who caused much turbulence in the world. +ali is not in any way associated with Dama! the Hindu &od o" Death. )nterestingly! &oddess +ali is also considered mother by her devotees 3 and is one o" the "ew &oddesses who are celibate! who renounced the whole world.

Physical attributes
+ali is shown with "our arms. )n two hands! she hold a sword and a "reshly severed head! representing the "ierce battle in which she destroyed the demon ,aktabi7a. 'he other two hands bless her devotees! granting them liberation in this li"e and in the ne5t.

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+ali wears a garland o" @: skulls and a skirt o" dismembered arms because the ego comes out o" identi"ication with the body. Her black or dark blue skin represents the womb "rom which all creation springs "orth and into which all o" creation will ultimately return. She is the pure! un3mani"ested energy! the dishakti. &oddess +ali is depicted placing one "oot on %ord Shiva! who is pure "ormless awareness Sat31hit3 nanda. Here! +ali represents $"orm$ eternally supported by pure awareness.

Kali and Shiva

+ali and Shiva are considered to inhabit cremation grounds. 'he cremation grounds imply the temporary nature o" the body! as against the permanence o" the soul. Devotees actually visit these areas in order to pray to the deity to destroy the ego.

Maa Kali, the Merciful One

+ali is also the most merci"ul one! as she provides moksha or salvation to her children. -oth +ali and Shiva are the destroyers o" evil and unreal. )t is believed that +ali will appear as wrath"ul to the egoistical ones. -ut "or people who are truly spiritually inclined! (aa +ali will appear as a protective! benevolent and a""ectionate "igure.

Tara & the *om+assionate Goddess

$Pratyalidhapade Ghore Mundalamala Pasovite Kharve Lambodari Bhime Ughratara Namostu Te$ 'ara is o"ten depicted in a "orm similar to that o" +ali. However! there are di""erences in the depiction 3 'ara6s comple5ion is blue whereas +ali6s can be black or blue. 'ara holds a bowl made "rom a scull in one hand! a pair o" scissors in another! a blue lotus in the third hand and an a5e in the "ourth. She is draped in tiger skin and has a necklace o" skulls. 'hough depicted to be a very "ierce deity! she is considered to be benevolent towards her devotees and showers them with blessings. 'ara is the deity o" accomplishments and is "requently propitiated by business owners "or success. She is also a provider o" salvation! and speaking prowess.

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$alita Tri+ura Sundari & the ,ed Goddess

$Om Aim reem !hreem !ri Lalita Tripurasundari Padukam Poo"ayami Namah $ 'he above is the simple mantra used in 1hakra Poo7a or Dantra Poo7a! that is! worshipping the &oddess in the "orm o" the Shreechakra Dantra. 'his is also regarded as the highest "orm o" worship o" %alita 'ripura Sundari. 'ripura Sundari literally means the $-eauty o" the 'hree #orlds$. &oddess %alita (the one who indulges in play)! also re"erred to as Shodashi (the *ermillion3hued 8ne) and ,a7ara7eshwari (Eueen o" Eueens)! is regarded as the most beauti"ul one ever.

Physical attributes
%alita 'ripura Sundari is depicted as a si5teen year old (another meaning "or Shodashi)! thus embodying the si5teen types o" desire. She is described as having a dusky comple5ion and is o"ten depicted in an intimate position with one aspect o" Shiva. She is also shown sitting on the Shree Peetham! a throne or pedestal which usually seats most o" the ma7or Hindu &ods such as -rahma! *ishnu and Shiva. n esoteric interpretation is that her body is said to be made up o" the collective Shaktis or energies o" -rahma! *ishnu! and ,udra! that is! she is -rahmani! *aishnavi and ,udrani respectively. %alita holds "ive "lower arrows! noose! goad and bow. #hile the noose represents attachmentF the goad symboliBes repulsionF the sugarcane bow! the mindF and the "lowery arrows! the "ive sense ob7ects.
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Devi 'ripurasundari combines +ali6s determination and Durga6s charm! grace! verve and comple5ion. She has a third eye on her "orehead. 1lad in red! the richly

ornamented 'ripurasundari sits on a lotus seat laid on a golden throne. She carries in her hands various attributes associated with Shiva. n aura o" royalty characteriBes her overall bearing and ambiance.

The Panchadashakshari Mantra

'he Panchadashakshari ("i"teen3lettered) mantra is the most guarded secrets o" Sri *idya! which a &uru only gives to the most highly deserving disciple. 'his mantra! it is said! should only be taught to a deserving person as this is the +ing o" all *idyas. 'he %alita Sahasranama describes the deity as e5tremely merci"ul! leading the devotee to liberation. di Shankara6s 'ripura Sundari shtakam portrays the &oddess as a (other wearing a blue and red3spotted dress! holding a pot o" honey.

Bhuvaneshwari & the *reator of the )orld

$Bhuvanesheem Mahamayaam !ooryamandalaroopineem Namami #aradaam !uddhaam Kamakhyaroopineem !hivam$ -huvaneshwari! in Sanskrit! means the 1reator o" the #orld. &oddess -huvaneshwari is the "ourth o" the Dus (ahavidyas. She embodies the physical cosmos and is considered to give shape to the creation o" the #orld. -huvaneshwari is regarded as the supreme goddess who creates everything and destroys all the unnecessary evils o" world. She is also the (other goddess o" +ali! %akshmi! and Saraswati also &ayatri. 'he -i7a(root) (antra o" &oddess -huvaneswari is $Hreem$ and she is also known as 8m Shakti or di Shakti. )t is believed that she is so power"ul that even the navagrahas (nine planets) cannot stop her "rom doing anything she wishes to do.
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*hhinnamasta & the .ne )ho Severs

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$Guptadurge Mahabhage Guptapaapapranashini !apta"anmaar"itat Paapaat Traahi Maam !aranagatam$ 1hhinnamasta! $She who severs her own head$! is also called 1hhinnamastika or Prachanda 1handika. 'his tantric goddesses is a "erocious aspect o" the Devi and can be identi"ied by her "earsome iconography. 'his sel"3decapitated goddess holds her own severed head in one hand and a scimitar in the other. 'hree 7ets o" blood spurt out o" her bleeding neck! which is drunk by her own severed head and two attendants standing by each side o" her. 1hhinnamasta is also usually portrayed as standing on a copulating couple. s the "igure o" 1hhinnamasta suggests! this particular (ahavidya is associated with the concept o" sel"3sacri"ice as well as the awakening o" the kundalini 3 the spiritual energy lying dormant within the Sookshma Sharira (subtle body). 1hhinnamasta is a mi5ture o" contradictions. She is regarded both as a symbol o" sel"3 control on se5ual desire as well as an embodiment o" se5ual energy! depending upon the interpretation o" the devotee.

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s 1hhinnamasta is considered a dark and dangerous deity! she has "ew temples! mostly "ound in ;orth )ndia and ;epal. Her individual worship is restricted to 'antric worship by 'antrikas and yogis. )nterestingly! 1hhinnamasta is recogniBed by Hindus as well as -uddhists. She is closely related to 1hinnamunda 3 the severed3headed "orm o" the 'ibetan -uddhist goddess *a7rayogini.

Physical attributes
1hhinnamasta is shown as being red like the hibiscus "lower and as bright as a million suns. Portrayed mostly nude! with dishevelled hair! she is considered to be a si5teen3year3old girl with "ull breasts! having a blue lotus near her heart. 1hhinnamasta is also depicted donning a serpent as a sacred thread and a garland o" skullsGsevered heads! bones and other ornaments around her neck.

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She carries her own severed head in her le"t hand and holds a khatri or scimitar3like ob7ect in her right hand! by which she decapitated hersel". 'hree streams o" blood string "rom her neck! one o" which enters her own mouth. 'he others are drunk by her "emale companions. -oth the attendants are depicted nude as well! with three3eyes! wearing the serpentine sacred thread and carrying the skull3bowl in the le"t hand and the kni"e in the right. #hile Dakini is light3skinned and represents the tamas guna! *arnini is red3comple5ioned and embodies the ra7as guna. 1hhinnamasta is o"ten shown standing on +amadeva (the god o" %ove) and his wi"e ,ati! who are engrossed in copulation with the latter! usually on top. -elow the couple lies a lotus and in the background is a cremation ground. 'he copulating couple is sometimes di""erent and sometimes! completely absent.

Legend of Chhinnamasta's birth

ccording to one legend "rom the Pranotasani 'antra! Parvati! while once having a bath in the (andakini river! becomes se5ually e5cited! making her skin turn black. t this time! her two "emale attendants Dakini and *arnini also become e5tremely hungry and beg "or "ood. 'hough Parvati initially promises to give them "ood once they get back home! she decides to behead hersel" by means o" using her nails and gives them her blood to satiate their hunger. 'he other story is narrated by Shiva. His consort 1handika (also an aspect o" Parvati) was engrossed in coitus with him in reverse posture! but became angry at his seminal emission. Her attendants Dakini and *arnini rose "rom her body. 'he rest o" the story is similar to the earlier version. 'here is yet another legend that relates how the goddess Prachanda31handika helped the gods slay all the evil demons. 'he enraged goddess then cut o"" her own head too and drinks her own blood. Her name also appears in the Samudra (anthan episode (1hurning o" 8cean)! where 1hhinnamasta drinks up the demons6 share o" the Devamruta (divine eli5ir o" youth) and then beheads hersel" to prevent the demons "rom acquiring the same.

elevance and symbolism of Chhinnamasta

1hhinnamasta signi"ies that li"e! death and se5 are interdependent. Her image embodies the eternal truth that li"e "eeds on death and that the ultimate destiny o" se5 is to perpetuate more li"e! which in turn will decay and die in order to "eed more li"e. 'he lotus and the copulating couple symboliBe li"e and the urge to procreate. 'he blood "lowing "rom goddess6 neck conveys death! which "lows into the mouths o" her devotees! nourishing them. 'his symboliBes the aspect o" the &oddess as a giver. )n a spiritual conte5t! the image o" 1hhinnamasta is a representation o" the awakening o" the kundalini. 'he lovemaking couple actually represents the awakening in the (uladhara chakra. 'he kundalini "lows through the central passage in the body. 'he blood spilling "rom the throat depicts the upward3"lowing kundalini! breaking all obstacles and "inally resulting in enlightenment. 'he severed head shows the transcendent consciousness. Daknini! *arnini and 1hhinnamasta can be related to the three main subtle nadis or channels! namely! )da! Pingala and Sushumna. 'he sel"3decapitation also represents removal o" ignorance and ego.

Bhairavi & the Goddess of Decay

$Mahapadmavanantasthe Paramanandavigrahe !habdabrahmamaye !va$$he #ande Tripurabhairaveem$ -hairavi! the 'errible 8ne! is also the consort o" %ord -hairava! a "earsome! destructive aspect o" Shiva. -hairavi is the very embodiment o" destruction and decay. Hence! she is also termed as the &oddess o" Decay. -hairavi6s destruction! though! need not always indicate negativity. 'he principle behind her destruction is that everything that gets created needs to be destroyed! in order "or the cycle o" li"e to keep moving.

Physical attributes
&oddess -hairavi is almost indistinguishable "rom the terrible +ali. 'hey are much the same in looks! e5cept "or the "act that -hairavi is depicted as the consort o" -hairava. -hairavi is also re"erred to as Shubmkari! who is good to good people and terrible to bad ones. %egend has it that! when -hairavi entered the battle "ield! her horrible appearance made the demons weak3kneed and cowered under her gaBe. (ost o" the demons would start panicking the moment they saw her. )n Durga Saptashathi! while slaying the demons Shumbha and ;ishumbha! -hairavi is seen as the (ahakali. However! she also slays 1handa and (unda (the 1hie"tains o" asuras) and drinks their blood. Hence! Parvathi gives her the name! 1hamundeshwari. -hairavi in her other "orms! is also identi"ied with Durga. )n her violent "orm! she is sometimes shown sitting on a donkey! her body covered with a tiger skin and skeleton! her mouth dripping with the Buy this Poster blood o" the asuras. She presents the abhaya B A",A!" AS %AA$ ,AT," mudra (gesture which grants the devotee succour) and vara mudhra (bestowing boons on the devotee). 1ontrarily! she is also shown holding heavy weapons such as a trident! a5e! and thunderbolt. -hairavi is associated with the (ahapralaya (the &reat Deluge at the end o" each yuga or epoch)! during which all creation is dissolved in the "ormless waters o" destruction. Since everything that is ever created is destroyed! destruction e5ists everywhere. )n that sense! &oddess -hairavi e5ists everywhere.

!hairavi in Kundalini Tantra

-hairavi is the name given to a "emale yogini adept in +undalini 'antra. -hairavi is one who has succeeded in mastering the +undalini shakti (power) inside her. 'he name! $-hairavi$! itsel" implies terror. )t aslo means $awe3inspiring$. Hence! the one who attains the status o" -hairavi! is beyond the "ear o" death! which is supposedly the greatest "ear "aced by living beings.

Dhumawati & the Goddess )ho )idows

erself

$%evim Kotesh&arim !uddhampapaghnim Kamaroopinim Namami Muktikamaya %ehi Muktim arapriye$ Dhumavati! literally $the Smoky 8ne$! represents the "earsome aspect o" an old! ugly widow. %ike her depictio! she is associated with the inauspicious and the unattractive! such as the crow and the 1haturmas period! which does not augur well at all according to the Hindu calendar. )t is believed that Dhumavati mani"ests hersel" at the time o" the (ahapralaya and is $the &reat *oid$ that e5ists be"ore creation and a"ter dissolution. 'hough Dhumavati is largely associated with ill3omens! her Sahasranama or thousand3name hymn talks about both her positive and negative aspects. She is also re"erred to as being so"t3hearted and a bestower o" boons! a great teacher and one who reveals ultimate knowledge o" the universe. Her ugly "orm teaches the devotee to look beyond the super"icial! to look inwards and ultimately! seek inner truths! which matter the most.

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Dhumavati is also known to bestow siddhis or e5traordinary "MAG' .F D UMA)AT" from DUS MA A!"D#A powers on devotees and rescues them "rom all troubles /in indi0 and ultimately grants them moksha or salvation. 'hose who wish to destroy evil "oes would do very well worshipping &oddess Dhumavati. )nterestingly! Dhumavati is also worshipped by single persons! desirous o" seeking li"e partners! by 'antrikas desiring to attain supernatural powers and also by those who want to renounce the material world. )n her temple at *aranasi! Dhumavati goes beyond her inauspicious "orm and mani"ests as a local protective deity. 'hough there are very "ew temples dedicated to her worship! 'antrikas continue to adore her and worship her in secluded places like cremation grounds and "orests. s a goddess o" hardships! hunger! thirst! destruction! death! poverty and despair! Devi Dhumavati is o"ten compared to ;airrti! the &od o" Sickness and (isery. Dhumavati is believed to have a bad temper and encourage an unhappy atmosphere! creating much ri"e and quarrels.

Physical attributes
'he Dhumavati 'antra describes the goddess as an old! thin and ugly widow! with a pale comple5ion. She is portrayed as restless and wicked. She wears old! dirty clothes! wears no 7ewels and has dishevelled hair. Her eyes inspire "ear! her nose is long and crooked! and some o" her long "ang3like teeth are missing! leaving her smile with gaps. Her ears are ugly and rough and her breasts hang down. 8ne o" her trembling hands is held a winnowing basket! while the other has a varada3 mudra or chinmudra (granting knowledge). Her vahana (vehicle) is a horseless chariot bearing an emblem o" a crow and a banner. 'he Prapancasarasara3samgraha describes Dhumavati as having a very dark comple5ion and wearing ornaments made o" snakes. She holds a spear or sword and a kapala or skull3cup in her hands. She also has an aged! wrinkled "ace. Her nose! eyes! and throat resemble those o" a crow. She holds a broom! a winnowing "an! a torch! and a club. She is also sometimes shown as holding a trident. 'his terrible goddess also sometimes chews the corpses o" the demons 1handa and (unda! and drinks a mi5ture o" blood and wine. Some rare paintings portray her as a "ull3breasted! beauti"ul young woman! adorned with the "inest gold 7ewellery. She looks se5ually tempting! but is still an inauspicious widow.

Some regions o" ;epal depict her as a nude woman! wearing a pearl necklace and headband! standing on a peacock! looking into her own re"lection in a mirror. ring o" "ire! which probably conveys cremation "lames! surrounds her.

Legend of "humavati
Dhumavati guards the Southeast direction. ccording to the Shaktisamagama3'antra! Dhumavati arose "rom the "lames which Sati had 7umped into. 'he Pranatosini3'antra gives yet another story. 8nce! Sati was very hungry and requested Shiva to bring them some "ood. #hen Shiva re"uses to do so! she eats him up to satis"y her hunger pangs. Shiva asks her to disgorge him! but she declines to do so. Shiva is incensed and curses Sati that she would assume the "orm o" a widowH )ncidentally! Sati is the only (ahavidya who has no consort. Having consumed Shiva! she destroys the male element (Purusha) in the universe. She is hence le"t with nothing but a horseless chariot and nowhere le"t to go in li"e. )nterestingly! Dhumavati is also associated with se5 and is said to be present where se5ual activity is! and to be occupied with se5. She is believed to like liquor! to be into5icated and to be worshiped by into5icated people.

Bagalamu-hi & the Goddess )ho Sei1es the Tongue

$Prapadye !aranam %evim !rikamakhyam !uresh&arim !hivasysa %ayitam !huddham Kamakhyam Kamaroopini$ &oddess -agalamukhi or -agala is the 8ne who destroys her devotees6 enemies. )n parts o" ;orthern )ndia! she is also known as Pitambara and -rahmastra ,oopini. She is the one whose "ace has the power to capture or control. She there"ore represents the hypnotic power o" the &oddess.

Physical attributes
-agalamukhi has a golden! glowing comple5ion and is dressed in yellow. She sits on a golden throne right in the middle o" an ocean o" nectar! covered with yellow lotuses. crescent moon adorns her head. She is depicted both as Dwibhu7a (two3handed) and 1haturbhu7a ("our3handed). 'he "ormer "orm shows her as more benevolent. She i" shown holding a club in her right hand with which she beats a demon and pulling his tongue out with her le"t hand. 'his image is interpreted as an e5hibition o" stambhana! the power to stun or paralyse an enemy into silence.

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She is known "or her powers to turn everything into its opposite! such as speech into silence! knowledge into ignorance! de"eat into victory and so on. 'his (ahavidya represents the knowledge whereby each thing must in time become its opposite. -agalamukhi hence embodies the secret presence o" the opposite wherein each thing is dissolved back into the Inborn and the Increated.

Legend of !agalamukhi
)t is believed that at one point in time! a huge storm had come over the 2arth. So "ierce was its power that it threatened to destroy whole o" the creation. Fearing the unthinkable! all the gods assembled in the Saurashtra region and prayed to the (other &oddess "or succor. &oddess -agalamukhi emerged "rom the 6Haridra Sarovara6! and pleased by the requests

o" the other demi gods! came down to 2arth and calmed the storm down.

#orshi$ of !agalamukhi
'here are many -agalamukhi temples in Himachal Pradesh and (adhya Pradesh. ;epal also has a large temple dedicated to the worship o" -agalamukhi! in the region o" Patan. -agalamukhi Pu7a is per"ormed according to *edic ritual! only by e5perienced Pu7aris (priests). Properly per"ormed! it is believed not only to decrease the power o" one6s enemy! but also to ultimately render them helpless.

Matangi & the Goddess who $oves Pollution

$!aras&atyaya Namo Nityam Bhadrakalyaya Namo Namah #edavedantavedanga #idyasthanebhya 'va (ha$ (atangi is the 'antric "orm o" Saraswati (the She #ho Flows 1ontinuously). #hile Saraswati6s energies are directed towards learning! academics! language! and the arts! (atangi6s energies are "ocused inward! on acquiring deeper wisdom. (atangi is the hence the patron o" inner thought and speech. She guides her devotee to um! the primordial sound. 1onsidered the daughter o" ,ishi (atanga! she is worshipped as &oddess (eenakshi at the temple at (adurai! 'amil ;adu. (atangi is actually an aspect o" Sati. ppearing 7ust a"ter -hagalamukhi! (atangi is closely associated with the Poornima! the "ull moon 3 the 6night o" into5ication6. She is believed to grant control over all "orms o" speech! including poetry and music. She is associated with the throat chakra. She is also associated with vast and e5pansive knowledge and there"ore! with Saraswati as well.

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Physical attributes
(atangi is depicted as having three eyes! dark (blue3black or dark emerald) comple5ion! e5tremely beauti"ul and sensuous! with large breasts! slender waist and long! "lowing locks. She holds a goad! a noose! a sword and a sarod! a musical instrument. 8" course! these items di""er "rom region to region. (atangi is considered to be born as a chandala or outcaste. Her "ather was a chandala who was raised as a -rahmin. (aybe this is how she originated as a tribal or non3*edic deity. Devi (atangi is associated with strong se5ual energy! the e5pression o" which may take several "orms. 'hough part o" the (ahavidya group o" Shaktis! Devi (atangi is complete in hersel" and is regarded as the most potent Sacred Feminine.

%amala & the $otus Goddess

$!ada$hara Priye %evi !huklapushpamvarapriye Gomayadishu$hiprite Mahalakshmi Namostu Te$ +amala is closely identi"ied with the 'antric "orm o" %akshmi! the &oddess o" #ealth. +amala is the goddess o" creation and consciousness. 'his strikingly beauti"ul goddess with golden skin and is shown either seated or standing on a "ully bloomed lotus! "lanked by elephants on each side. +amala6s greatest power is the destruction o" poverty! both material and spiritual! and the bestower o" well3 being! prosperity and "ertility. )n "act! both %akshmi and +amala are the same goddess! though the latter is more esoteric in nature.

The lotus in s$irituality

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Spiritually! the lotus denotes purity! auspiciousness and piety. )t is also a symbol o" the entire mani"ested universe! "ound in every yantra and is associated with many deities o" the Hindu Pantheon.

'he other esoteric signi"icance o" the lotus is that it grows "rom murky! muddy waters and yet! is in no way attached to the water. )t bursts "orth into large leaves and gorgeous! "ragrant blossoms! symboliBing the emergence o" the pure! limitless tman (soul) "rom the impure! limited material body. 'his lovely "lower is also very nourishing 3 almost all its parts are edible and healthy. Hence! it represents the vital nature o" the spiritual path in nurturing our whole sel". 'he elephants that shower +amala with water symboliBe the "ertile rains o" monsoon that create and nurture the whole universe. 'hey also give her an air o" royalty 3 she is the consort o" *ishnu! the Preserver. Hence! she too becomes the preserver o" the 2arth. #hile %akshmi is usually depicted as serving *ishnu! Devi +amala takes the position o" the primary deity as the elephants bathe her instead.

Kamala as a creative force

+amala is the power who creates happiness and abundance all around. +amala also blesses "amilies with children! hence those e5periencing di""iculty conceiving would do well to o""er worship to this power"ul 'antric &oddess. 'hose who already have children also pray to +amala "or the well3being o" their o""spring. Devi +amala is the spirit o" nature and is mani"est in the natural world. Hence! we can worship her by spending time in nature! appreciating its pro"ound beauty and also trying our level best to protect the 2arth6s natural resources and the natural habitat. -y doing thus! we can move on the path o" spiritual progress! o" becoming a sadhaka o" the Divine (other &oddess! +amala. 8ne can also worship +amala to help mani"est their own creative vision! eliminate poverty! stabiliBe the home environment and open up one6s heart to spiritual practice o" the deity.

The %orshi$ of Kamala

'he day o" %akshmi Pu7an! during Diwali! is special to Devi +amala. 'his is celebrated on the "ull moon day o" the shvin month. 'here are prescribed techniques listed out "or %akshmi Pu7a. -ut even those not knowing about ritual techniques can pray to this benevolent deity with their whole heart. 'his wonder"ul deity immediately grants the seeker all his desiresH

"n conclusion
'he worship o" the (ahavidyas in any "orm ultimately leads the sadhaka to liberation. 2ven the deities who appear "ierce are in actuality! always bestowing grace on their devotees! leading them on to conquer "orever higher peaks in their spiritual lives. 'he central aim while becoming a Devi Ipasaka ("ollower) is to stretch one6s consciousness beyond the conventional! to break away "rom binding social norms and e5pectations. 'his liberates the devotee and raises his consciousness "rom the inhibiting categories o" proper and improper! good and bad! polluted and pure. 'he upasana o" the supposedly $biBarre$ goddesses in the group o" (ahavidyas probably "acilitate the devotee6s spiritual climb! by helping him shun the $approved$ social norms and open out his heart to the more esoteric! which is indeed the main prerequisite while on the path o" deep spirituality. However! here is a word o" caution "or those intent on seeking the grace o" a (ahavidya. 'hough each o" these (ahavidyas is very power"ul and grants all the boons as desired by their devotees! Sadhakas (seekers) should understand that they should never try and misuse the powers o" the special mantras attributed to these Devis. ll aspects o" the ritual worship should be carried out "aith"ully! without missing a single point. lso! they should never endeavour to do ritual worship on their own! without the initiation and guidance o" a &uru. 8mitting any ritual in a certain Devi6s worship! it is considered! will result in severe ill3e""ects "or the devotee.

This article was written by Saipriya Viswanathan. Saipriya is a teacher/performer of Bharata Natyam, Carnatic vocal music and Carnatic Veena. She is a recipient of several awards for both dance and music, including the Sur ani and Singar ani titles. She is a recipient !ovt. of "ndia erit Scholarship for dance and is a diploma holder in Carnatic vocal music. #ur efforts have been directed at ma$ing this article informative and refreshing for you. %e will truly appreciate all forms of feedbac$. &lease send your feedbac$ to info'dollsofindia.com. Copyright ( )*+*, DollsofIndia