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The
other, quite different interpretation states that
the presence of the copulating couple is a symbol
of the goddess being charged by their sexual energy.
Just as a lotus seat is believed to confer upon
the deity seated atop it's qualities of auspiciousness
and purity, Kamadeva and Rati impart to the Goddess
standing over them the power and energy generated
by their lovemaking. Gushing up through her body,
this energy spouts out of her headless torso to
feed her devotees and also replenish herself.
Significantly here the mating couple is not opposed
to the goddess, but an integral part of the rhythmic
flow of energy making up the Chinnamasta icon.
The image of Chinnamasta is a composite one, conveying reality as an amalgamation of sex, death, creation, destruction and regeneration. It is stunning representation of the fact that life, sex, and death are an intrinsic part of the grand unified scheme that makes up the manifested universe. The stark contrasts in this iconographic scenario-the gruesome decapitation, the copulating couple, the drinking of fresh blood, all arranged in a delicate, harmonious pattern - jolt the viewer into an awareness of the truths that life feeds on death, is nourished by death, and necessitates death and that the ultimate destiny of sex is to perpetuate more life, which in turn will decay and die in order to feed more life. As arranged in most renditions of the icon, the lotus and the pairing couple appear to channel a powerful life force into the goddess. The couple enjoying sex convey an insistent, vital urge to the goddess; they seem to pump her with energy. And at the top, like an overflowing fountain, her blood spurts from her severed neck, the life force leaving her, but streaming into the mouths of her devotes (and into her own mouth as well) to nourish and sustain them. The cycle is starkly portrayed: life (the couple making love), death (the decapitated goddess), and nourishment (the flanking yoginis drinking her blood).
Bhairavi the Goddess of Decay
Creation
and Destruction are two essential aspects of the
universe, which is continually subject to their
alternating rhythms. The two are equally dominant
in the world and indeed depend upon each other
in symbiotic fashion. Bhairavi embodies the principle
of destruction and arises or becomes present when
the body declines and decays. She is also evident
in self-destructive habits, such as eating tamsic
food (food having a quality associated with ignorance
and lust) and drinking liquor, which wear down
the body and mind. She is present, it is said,
in the loss of semen, which weakens males. Anger,
jealousy, and other selfish emotions and actions
strengthen Bhairavi's presence in the world. Righteous
behavior, conversely, makes her weaker. In short,
she is an ever-present goddess who manifests herself
in, and embodies, the destructive aspects of the
world. Destruction, however, is not always negative,
creation cannot continue without it. This is most
clear in the process of nourishment and metabolism,
in which life feeds on death; creation proceeds
by means of transformed energy given up in destruction.
Bhairavi is also identified with Kalaratri, a name often associated with Kali that means "black night (of destruction)" and refers to a particularly destructive aspect of Kali.
She is also identified with Mahapralaya, the great dissolution at the end of a cosmic cycle, during which all things, having been consumed with fire, are dissolved in the formless waters of procreation. She is the force that tends toward dissolution. This force, furthermore, which is actually Bhairavi herself, is present in each person as one gradually ages, weakens and finally dies. Destruction is apparent everywhere, and therefore Bhairavi is present everywhere.
A commentary on the Parashurama-kalpasutra says that the name Bhairavi is derived from the words bharana (to create), ramana (to protect), and vamana (to emit or disgorge). The commentator, that is, seeks to discern the inner meaning of Bhairavi's name by identifying her with the cosmic functions of creation, maintenance, and destruction.
Dhumawati the Goddess who widows Herself
Dhumawati
is ugly, unsteady, and angry. She is tall and
wears dirty clothes. Her ears are ugly and rough,
she has long teeth, and her breasts hang down.
She has a long nose. She has the form of a widow.
She rides in a chariot decorated with the emblem
of the crow. Her eyes are fearsome, and her hands
tremble. In one hand she holds a winnowing basket,
and with the other hand she makes the gesture
of conferring boons. Her nature is rude. She is
always hungry and thirsty, and looks unsatisfied.
She likes to create strife, and she is always
frightful in appearance.
The legend behind Dhumawati's origin says that once, when Shiva's spouse Sati was dwelling with him in the Himalayas, she became extremely hungry and asked him for something to eat. When he refused to give her food, she said, "Well, then I will just have to eat you." Thereupon she swallowed Shiva, thus widowing herself. He persuaded her to disgorge him, and when she did so he cursed her, condemning her to assume the form of the widow Dhumawati. This myth underlines Dhumawati's destructive bent. Her hunger is only satisfied when she consumes Shiva, her husband and who contains within himself the whole world. Ajit Mookerjee, commenting on her perpetual hunger and thirst, which is mentioned in many places, says that she is the embodiment of "unsatisfied desires." Her status as a widow itself is curious. She makes herself one by swallowing Shiva, an act of self-assertion, and perhaps independence.
The
crow, which appears as her emblem atop her chariot,
is a carrion eater and symbol of death. Indeed,
she herself is sometimes said to resemble a crow.
The Prapancasarasara-samgraha, for example, says
that her nose and throat resemble those of a crow.
The winnowing basket in her hand represents the need to discern the inner essence from the illusory realities of outer forms. The dress she wears has been taken from a corpse in the cremation ground. She is said to be the embodiment of the tamas guna, the negative qualities associated with lust and ignorance. She is believed to enjoy liquor and meat, both of which are tamsic. Dhumawati is also interpreted by some Tantra scholars as "the aspect of reality that is old, ugly, and unappealing. This is further corroborated by the fact that she is generally associated with all that is inauspicious and is believed to dwell in desolate areas of the earth, such as deserts, in abandoned houses, in quarrels, in mourning children, in hunger and thirst, and most particularly in widows.
Bagalamukhi the Goddess who seizes the Tongue
The legend behind the origin of goddess Bagalamukhi is as follows:
A demon named Madan undertook austerities and won the boon of vak siddhi, according to which anything he said came about. He abused this boon by harassing innocent people. Enraged by his mischief, the gods worshipped Bagalamukhi. She stopped the demon's rampage by taking hold of his tongue and stilling his speech. Before she could kill him, however, he asked to be worshipped with her, and she relented, That is why he is depicted with her. She is almost always portrayed in this act, holding a club in one hand, with which she is about to strike her enemy, and with the other hand pulling his tongue. In this myth, by stopping the demon's tongue, she exercises her peculiar power over speech and her power to freeze, stun, or paralyze.
The pulling of the demon's tongue by Bagalamukhi is both unique and significant. Tongue, the organ of speech and taste, is often regarded as a lying entity, concealing what is in the mind. The Bible frequently mentions the tongue as an organ of mischief, vanity and deceitfulness. The wrenching of the demon's tongue is therefore symbolic of the Goddess removing what is in essentiality a perpetrator of evil.
Matangi the Goddess who Loves Pollution
Once Parvati, seated on Shiva's lap, said to him that he always gave her anything she wanted and that now she had a desire to visit her father. Would he consent to her visiting her father, Himalaya, she asked? Shiva was not happy about granting her this wish but eventually complied, saying that if she did not come back in a few days, he would go there himself to ask for her return. Parvati's mother sent a crane to carry Parvati back to her family home. When she did not return for some days, Shiva disguised himself as an ornament maker and went to her father's house. He sold shell ornaments to Parvati and then, seeking to test her faithfulness, asked that she have sex with him as his payment. Parvati was outraged at the merchant's request and was ready to curse him, but then she discerned with her yogic intuition that the ornament vendor was really her husband, Shiva. Concealing her knowledge of his true identity, she replied: "Yes, fine, I agree. But not just now."
Sometime later, Parvati disguised herself as a huntress and went to Shiva's home, where he was preparing to do evening prayer. She danced there, wearing red clothes. Her body was lean, her eyes wide, and her breasts large. Admiring her, Shiva asked: "Who are you?" She replied: "I am the daughter of a Chandala. I've come here to do penance." Then Shiva said: "I am the one who gives fruits to those who do penance." Saying this, he took her hand, kissed her, and prepared to make love to her. While they made love, Shiva himself was changed into a Chandala. At this Point he recognized the Chandala woman as his wife Parvati. After they had made love, Parvati asked Shiva for a boon, which he granted. Her request was this: "As you [Shiva] made love to me in the form of a Chandalini [Chandala woman], this form should last forever and be known as Uccishtha-matangini (now popularly known as Matangi)."
The key to this legend is the essence of the word 'Chandala.' The Chandalas are believed to constitute the lowest strata of the caste hierarchy in orthodox Hindu belief. Associated with death and impurity they have always survived on the fringes of mainstream society. Derogatory in the extreme sense, The label chandala itself has become the worst kind of slur. Thus by disguising herself as a Chandalini, Parvati assumes the identity of a very low-caste person, and by being attracted, Shiva allows himself to be identified with her. Both deities self-consciously and willingly associate themselves with the periphery of Hindu society and culture. The Chandala identity is sacralized therefore, in the establishment of Goddess Matangi. This goddess summarizes in herself the polluted and the forbidden.
Another
myth related to Matangi reinforces this belief.
Once upon a time, Vishnu and Lakshmi went to visit
Shiva and Parvati. They gifted Shiva and Parvati
fine foods, and some pieces dropped to the ground.
From these remains arose a maiden endowed with
fair qualities. She asked for leftover food (uccishtha).
The four deities offered her their leftovers as
prasada (food made sacred by having been tasted
by deities). Shiva then said to the attractive
maiden: "Those who repeat your mantra and
worship you, their activities will be fruitful.
They will be able to control their enemies and
obtain the objects of their desires." From
then on this maiden became known as Uccishtha-matangini.
She is the bestower of all boons.
This legend stresses Matangi's association with leftover food, which is normally considered highly polluting. Indeed, she herself actually arises or emerges from Shiva and Parvati's table scraps. And the first thing she asks for is sustenance in the form of leftover food (uccishtha). Texts describing her worship specify that devotees should offer her uccishtha with their hands and mouths stained with leftover food; that is, worshippers should be in a state of pollution, having eaten and not washed. This is a dramatic reversal of the usual protocols for the worship of deities. Normally, devotees are careful to offer particularly pure food or food that the deity especially likes. After the deity has eaten it, the food is thought of as blessed and returned to the worshipper to partake, and is believed to contain the grace of the deity. The ritual give-and-take in this case emphasizes the inferior position of the devotee, who serves the deity and accepts the deity's leftover food as something to be cherished. In the case of Matangi however, worshippers present her with their own highly polluted leftover food and are themselves in a state of pollution while doing so.
In some rituals she is known to have been offered a piece of clothing stained with the menstrual blood in order to win the boon of being able to attract someone. Menstrual blood is regarded as taboo in the performance of religious functions, but in the case of Matangi these strict taboos are disregarded, indeed, are flaunted.
Kamala
the Last but Not the Least
Kamala as the tenth and last of the Wisdom Goddesses shows the full unfoldment of the power of the Goddess into the material sphere. She is both the beginning and the end of our worship of the goddess.
The canonical texts are quite specific regarding her iconography:
'She has a beautiful and golden complexion. She is being bathed by four large elephants who pour jars of nectars over her. In her four hands she holds two lotuses and makes the signs of granting boons and giving assurance. She wears a resplendent crown and a silken dress.'
The name Kamala means "she of the lotus" and is a common epithet of Goddess Lakshmi. Indeed, Kamala is none other than the goddess Lakshmi. Though listed as the last of the Mahavidyas, she is the best known and most popular. Several annual festivals are given in her honor. Of these, the Diwali festival is most widely celebrated. This festival links Lakshmi to three important and interrelated themes: prosperity and wealth, fertility and crops, and good luck during the coming year.
The elephants pouring nectar onto her are symbols of sovereignty and fertility. They convey Kamala's association with these highly desirable qualities.
Though equivalent to Lakshmi, important differences exist when Kamala is included in the group of Mahavidyas. Most strikingly, she is never described or shown accompanying Vishnu, who otherwise is her constant and dominating companion in all representations.
In this respect unlike Lakshmi, Kamala is almost entirely removed from marital and domestic contexts. She does not play the role model of a wife in any way, and her association with proper dharmic or social behavior, either as an example of it or as the rewarder of it, is not important in the Mahavidya context. Here a premium seems to be put on the independence of the goddesses. For the most part, the Mahavidyas are seen as powerful goddesses in their own right. Their power and authority do not derive from association with male deities. Rather, it is their power that pervades the gods and enables them to perform their cosmic functions. When male deities are shown, they are almost in supporting roles (literally as when they are shown supporting Shodashi's throne), and are depicted as subsidiary figures.
Conclusion
It
is striking how female imagery and women are central
to the conception of the Mahavidyas. Iconographically,
they are individually shown dominating male deities.
Kali and Tara are shown astride Shiva, while others
like Shodashi sit on the body of Shiva which in
turn rests upon a couch whose legs are four male
deities! Most significantly none of the Mahavidyas
is shown as the traditional wife or consort. Even
Lakshmi, who is widely known for her position
as Vishnu's loyal wife is shown alone. It is also
noteworthy that the severed heads that decorate
the goddess's bodies are male, as are the corpses
that lie beneath them.
Moreover, related Tantric texts often mention the importance of revering women. The Kaulavali Tantra says that all women should be looked upon as manifestations of Mahadevi (the Great Goddess). The Nila-tantra says that one should desert one's parents, guru, and even the deities before insulting a woman.
Finally the question remains: Why would one wish to worship a goddess such as Kali, Chinnamasta, Dhumawati, Bhairavi, or a Matangi, each of whom dramatically embodies marginal, polluting, or socially subversive qualities? These goddesses are both frightening and dangerous. They often threaten social order. In their strong associations with death, violence, pollution, and despised marginal social roles, they call into question such normative social "goods" as worldly comfort, security, respect, and honor. The worship of these goddesses suggests that the devotee experiences a refreshing and liberating spirituality in all that is forbidden by established social orders.
The central aim here according to Tantric belief is to stretch one's consciousness beyond the conventional, to break away from approved social norms, roles, and expectations. By subverting, mocking, or rejecting conventional social norms, the adept seeks to liberate his or her consciousness from the inherited, imposed, and probably inhibiting categories of proper and improper, good and bad, polluted and pure.
Living one's life according to rules of purity and pollution and caste and class that dictate how, where, and exactly in what manner every bodily function may be exercised, and which people one may, or may not, interact with socially, can create a sense of imprisonment from which one might long to escape. Perhaps the more marginal, bizarre, "outsider" goddesses among the Mahavidyas facilitate this escape. By identifying with the forbidden or the marginalized, an adept may acquire a new and refreshing perspective on the cage of respectability and predictability. Indeed a mystical adventure, without the experience of which, any spiritual quest would remain incomplete.
References and Further Reading
- Danielou, Alain. The Myths and Gods of India: Vermont, 1991.
- Frawley, David. Tantric Yoga and The Wisdom Goddesses: Delhi, 1999.
- Jansen, Eva Rudy. The Book of Hindu Imagery, The Gods and their Symbols: Holland, 1998.
- Kinsley, David. Tantric Visions of the Divine Feminine: New Delhi,1997.
- Walker, Benjamin. Encyclopedia of Esoteric Man: London, 1977
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