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The Beginnings
There is a deep archetypal need in the human psyche for a mother. It is said;
the Goddess was humankind's earliest conception of divinity. Among the
Shakthas who worship Mother Goddess, the source of all existence is female.
God is woman. She is the principle representation of Divinity. She is that
power which resides in all life as consciousness, mind, matter, energy,
silence, joy as also disturbance and violence. She is the vibrant energy that
makes everything alive, fascinating and wonderful. She is inherent in
everything and at the same time transcends everything.
Her true nature is beyond mind and matter; she is not bound by any
limitation. She is Arupa. When she is represented in a form, her intense
representation is a Bindu the dimension-less point about to expand
immensely. The Bindu symbolizes her most subtle micro form as the
universal Mother, womb, yoni,creator, retainer as also the receiver of the
universe-
The Goddess in Tantra- as Bindu denotes what is hidden; the secret, the
subtle and the most sensitive. She represents the source of all that is to be
known, to be searched and to be attained with dedication and effort; she is
Durga. The seeker is drawn by a fascination to know her. She is the mystery
and allure of all knowledge. She is at once the inner guiding power, the
knowledge and its comprehension. She is Vidya.
Though Her Vidya is infinite, for the purpose of Tantric Sadhana, they are
usually classified as being ten: Dasha Mahavidya. Each tradition of Tantra
has its own set of Dasha Mahavidyas.
Chinnamasta,
Some of the other Devi-related texts count more than ten forms of
Mahavidyas. For instance, Narada Panchatantra says there are at least
seventy Mahavidyas; the Nirutta Tantra counts eighteen Mahavidyas; and the
Devi Bhagavata specifies thirteen forms of Mahavidyas (Kalika, Tarini,
Tripura, Bhairavi, Kamala, Bagala, Matangi, Tripura-Sundari, Kamakhya,
Tulja-devi,
Jambhini,
Mohini,
and
Chinnamasta).
Another
Tantric
Tara,
Bagala,
Tripura-Sundari,
Dhumavathi,
Bhairavi,
Annapurna,
Bhuvaneshvari,
Durga,
Kamala,
Chinnamasta,
Matangi
and
Padmavati). In certain other lists, some obscure goddesses: Vasali, Bala and
Pratyangira are included. Thus, the numbers, names and their position in the
sequence vary from text to text.
But, all the texts agree that Mahavidyas, whatever is their numbers, names,
order of appearance or their diverse forms, all represent the natures of one
and the same reality. Kali is included in all the enumerations and she is
regarded the Adi(primary) Mahavidya. Each of the other Mahavidya shares
some of her characteristics.
The Origin
That does not mean all the ten goddesses in the group emerged rather late.
The Mahavidyas is a combination three well established deities Kali, Tara
and Kamala; couple of deities that already had marginal presence; and other
deities, perhaps of local origin, who figure exclusively in the Tantric
Mahavidya cult.
Among the Mahavidyas derived from the older deities, Kali is the foremost.
Though Kali makes her specific appearance in the Devi-Mahatmya as an
emanation of Durga, she combines in herself the virtues and powers of many
Vedic deities. She inherits the all - pervasive sovereign power and splendor of
Devi (RV.10.125); the mystery and darkness of Rathri (RV.10.127.1-8), dark
as the bright starlit night who is Mayobhu (delighting), Kanya (virgin), Yosha
yuvathi (youthful) , Revathi (opulent),Bhadra Shiva(auspicious)
and
pashahasta (holding a noose); the mercy of Durga who transports her devotee
over all the difficulties ( no adya paarayati durgani visvaha Nirukta :9.29);
the occult power and delusion of Viraj the Maha-Maya , the goddess of heaven
(divi maayeva devata) and the Dhirgajihvi (long tongued) ; the death,
destruction and dissolution of Nirrti; and the timelessness of Kala. Kali is also
one of the seven tongues of Agni (Kali, Karali, Manojava, Sulohita,
Sudhumravarna, Suphulingini and Visvaruchi: ManaUpanishad). Kali is thus
associated with darkness, night, time, mystery, fire, and immense power of
attraction. She is also the source and the residue of all energies.
Tara the savior (Taarini) is as potent as Kali. She is said to be the form that
Mahadevi took in order to destroy the thousand-headed Ravana. Tara has
strong presence in the Buddhism (especially the Tibetan Buddhism) and in
Jain pantheons also. Among the Mahavidyas, Tara is next only to Kali; and
she resembles Kali in appearance more than any other Mahavidya. Tara as
Mahavidya is not entirely benign; she could be fierce and horrifying.
Among the other Mahavidyas, Kamala is the best known and adored even
outside the cult. Kamala of the Mahavidya is a reflection of Shri for whom a
Suktha of fifteen riks is devoted in the khilani (appendixes) attached to the
fifth Mandala of Rig Veda. As Lakshmi she figures not only in the Puranas
but also in the Buddhist texts of second and third centuries BCE. The Devi
Mahatmya which is a part of the Markandeya Purana celebrates
Mahalakshmi
as
the
immense
potential
(sarva-sadhya)
and
the
[In fact, all the Mahavidyas, whatever might be their origins and individual
dispositions, are associated with the Shiva cult. As a rule, they are depicted
as dominating over Shiva, the male.]
The Mahavidya texts emphasize that though some of the Mahavidyas might
bear names resembling other goddesses, they are not the same. Mahavidyas
are exclusive powers of distinct Tantric character, are of severely independent
nature (not viewed as spouses) and they should be worshipped only in the
manner prescribed by the Tantric texts.
Attempts were made to bring Mahavidyas into the main stream of Shaktha
legends through the Devi Mahatmya. The third Canto of the Devi Mahatmya
mentions that Mahadevi, the united force of all the gods, in her battle against
the demons Shumbha and Nishumbha created multiple groups of female
warriors displaying various facets of her ferocious nature. Among the groups
mentioned, the Saptha Matrikas and the Nava Durgas are prominent. Devi
There was also a suggestion, elsewhere, that the Mahavidyas emanated from
the Nava Durgas.
The Devi Bhagavata and other Devi related puranas, in general, elaborate on
the glory and splendor of Mahadevi the Great Goddess as the upholder of the
cosmic order and the destroyer of the demons. But, the Mahavidya tradition
is concerned, in particular, with the nature of the many diverse forms of Devi
that pervade all aspects of reality.
Kali is
Adi Mahavidya, the primary Mahavidya. She is the first and the
foremost among the Mahavidyas. She is not only the first but the most
important of the Mahavidyas. It is said, the Mahavidya tradition is centered
on Kali and her attributes. Kali is the epitome of the Mahavidyas. The rest of
the Mahavidyas emanate from Kali and share her virtues and powers in
varying shades.
Though the Mahavidyas are female they are not depicted as a wife. In the
hymns devoted to some Mahavidyas their male spouses are mentioned. But,
that minor detail is never stressed, as that is a weak and an insignificant
aspect of their individuality. Mahavidyas are also not associated with
Motherhood or fertility.
By all accounts, the Mahavidyas as a group and as individual deities are the
most bizarre set of goddesses in any religion or in any culture.
The
Mahavidyas are thus a distinctive group of deities. They are far different from
the deities worshipped in the polite society. The Mahavidyas giving way to
violent emotional expressions are shown as performing loathsome, socially
despicable roles, indulging in all that is forbidden in a normal society. And in
fact, they challenge the normally accepted concepts and values in an
established social order. They bring into question the very notions of beauty,
goodness, honor, respect, decency, cleanliness and physical comfort etc.
There is another way of looking at their forms that are often disturbing and
difficult to bear. This perhaps was
look.
Thus, in sharp contrast to the tranquil renderings of their abstract forms, the
iconographic images of Mahavidyas
aggressive expressions.
From an aesthetic point of view Mahavidyas suggest a flight from reality and
take you to a totally different world, which is poignant, restless and
aggressive. The interesting aspect of the Mahavidyas is that the images seem
to have sprung from intuition or from a non-rational source, and yet they
bring home the realities of life. Pointing out to reality is in the nature of
Tantra outlook. Tantra takes man and the world as they are and not as they
should be.
It is said; the images should be viewed in the light of the meanings which
underlie and generate the image. In case, the image and its meaning are
disassociated, it then becomes a mere repulsive picture.
Blend of contradictions
benign powers.
In her negative aspect her intensely fierce nature is made explicit by her
terrifying features. But at the same time, every Mahavidya is neither totally
negative nor totally positive. Each is a combination of many awe inspiring
virtues and magical powers. From the gross descriptions of ferocious deities
Kali and Dhumavati it might appear they are devoid of pleasing, benevolent
and such other positive virtues. But, their namavalis (strings of one thousand
and eight names) sing and praise them as oceans of mercy. In contrast,
Kamala, given her association with Shri, surprisingly, carries within her
demeanor a few fierce or terrible aspects. The Mahavidyas cannot easily be
classified as those that are strictly of fierce (raudra) or benign (saumya)
nature.
The ten Mahavidyas as a group are powerful. But, individually only a few can
assert themselves on their own might. The characteristics of certain
individual Mahavidya does not coordinate well with the group-characteristics
though the Mahavidyas are said to be emanations from Kali. Further, the
texts do not also explain the inter-relation between the Mahavidyas or
whether each in some way is connected or related with the others in the
group. The Mahavidya texts, however, hastens to explain that Mahavidyas are
indeed a group; and, they all are emanations of the Devi. It is said; each of
her Vidyas is great in its own right. The notions of superiority and inferiority
among them should never be allowed to step in. All are to be respected alike.
The differences among them are only in their appearances and dispositions.
And yet they all reflect various aspects of the Devi. The might of Kali; the
sound-force (sabda) of Tara; the beauty and bliss of Sundari; the vast vision
of Buvaneshwari; the effulgent charm of Bhiravi; the striking force of
Chinnamasta; the silent inertness of Dhumavathi; the paralyzing power of
Bhagalmukhi; the expressive play of Matangi; and the concord and harmony
of Kamalatmika are various characteristics, the distinct manifestations of the
Supreme consciousness of the Devi that pervades the Universe.
It is said; the Sadhaka prays to Kali to grant him virtues of : the generosity of
Chinnamasta; the valor in battle of Bagalamukhi; the wrath of Dhumavati;
the majestic stature of Tripura Sundari; the forbearance of Bhuvanesvari; and
control over enemies like Matangi.
There are other explanations which came up much later. Kali is said to
represent unfettered absolute reality; Tara an expanded state but yet bound
by the physical; Bhagalamukhi the fierce concentration; Kamala and Bhairavi
with satisfaction of physical wellbeing and worldly wealth; while the
other Mahavidyas symbolize the worldly needs and desires that eventually
draws into Kali.
Whereas
Sundari,
Bhuvaneshwari,
Bhairavi,
Matangi
and
Kamalatmika have qualities of light, delight, and beauty. The Tantras speak
of Kali as dark, Tara as the white; and Sundari as red.
But, the explanations offered, in most cases, contradict the others. The
Mahavidyas and their natures cannot easily be categorized into well defined
types. There is no convincing unified view of the Mahavidyas as a group. And
there is no theory that satisfactorily binds together the all the ten Mahavidyas
(we shall talk a little more of that later in the post).
As said, The Mahavidyas are not goddesses in the normal sense of the term.
The worship of Mahavidyas - as a group- is generally not temple oriented;
and, there is no pilgrim center (Tirtha) associated with the Dasha Mahavidyasgroup. They are also not associated with prominent geographical features
such as hills, rivers, river-banks or trees. Except for a Mahavidya temple in
the funeral Ghats of Cossipore near Calcutta there are, perhaps, no temples
dedicated exclusively to the worship of Mahavidyas as a group. However, the
pictures of Mahavidyas are painted on the walls of Devi temples. They are also
depicted as decorative figures surrounding the centrally located figure of Devi
-Mahishasuramardini -Durga, sculpted for worship during Navaratri. There
are temples dedicated to the prominent Vidyas such as Kali, Kamakhya and
Tara, as in the case of other Hindu or Buddhist goddesses; and their templetowns are well known Tirthas. As for the other Mahavidyas who are not well
known outside the group (Dhumavati, Bagalamukhi and Chinnamasta) there
are just a few temples dedicated specially to them.
As regards Kamala and Sundari, the temples (especially in south India) are
dedicated only to their benign, most beautiful and magnificent aspects as
Lakshmi; or Tripura Sundari or Sri Rajarajeshwari who is the presiding deity
of the Sri Vidya tradition.
In northeast, in Bengal the cult of Kali is supreme. In far north and northwest
in Tibet and Kashmir regions the cult of Tara is popular. In the South the
Vidya of Sundari, Sri Vidya is vogue. Lakshmi is commonly worshipped. Thus,
the whole of India is soaked in the adoration of the Mother: the might of the
kali, the wisdom of Tara, the beauty of Sundari and the grace of Kamala.
The worship of one Mahavidya might differ from that of the others.TheTantra
texts (say, SaktisamagamaTantra) specify which path should be taken in
worshipping a particular Mahavidya. For instance, the worship of Kali,
Kamakhya
Tara,
Bhairavi,
Chinnamasta,
Matangi
and
The text mentions that Sodasi, Kamala and Bhuvaneshwari prefer righthanded worship practices.
The text , at the same time, clarifies that both the paths are appropriate .And
Mahavidya could be worshipped in either manner depending upon the
inclination and the nature of the worshipper.
Though some of the Mahavidyas are worshipped in their temples, the private
places marked out in the cremation grounds seem to be favored places for
tantric rituals, especially in the case of Kali, Tara, Bagalamukhi,
Chinnamasta and Dhumavati. In the extreme forms of this class of worship
(vamachara) the deities, the Sadhakas and the ritual practices are associated
with blood and corpses. Their worship is characterized by the pancha
tattva or pancha makaara (five Ms) rituals performed employing five
forbidden
or
highly
polluting
elements:
madya
(liquor)
By partaking the polluted and forbidden things the Sadhaka affirms his faith
that there is nothing in this world that is outside the goddess; she pervades
all; and within her there are no distinctions of pure or impure. He attempts
to erase the artificial manmade distinctions and be one with his goddess.
Todala Tantra, a tantric text, interprets the nature of the five elements
(pancha tattva) in various ways. It explains that Devi can be worshipped at
different levels. As per the text, these five elements carry various esoteric
interpretations according to the nature of worship undertaken: tamasika
(pashvachara), rajasika (vichara), or divya (sattvika sadhana).
Explanations
The
Mahavidya
texts
such
as
Tantrasara,
Sakta-pramoda
and
Unless we are willing to look deeper we are likely to be trapped in the maze of
hideous appearances and repulsive behaviors.
I have tried to put together a few explanations I know and some others I came
across. I am sure there are many more. What I say here is as I understood it;
and that could be inadequate or wrong. But, before we get into Mahavidyas
per se we need to talk of few other things.
The Mahavidya cult primarily signified the return to the indigenous tribal
faiths and beliefs in magic formulas, initiation rites, scarifies and above all to
the worship and glorification of the female principle. It was the way to
rediscover the mystery of woman. The early set of deities was perhaps formed
by bringing together tribal goddesses; some of them well-known while most
others were minor and obscure. In the life of the women of the tribes clouded
by death, suffering and neglect, these tribal deities represented their
aspirations of life, the timeless youth, the body - energy and the desire to be
free of male domination and yet to produce, for which sex was essential . It
was basically a tribal cult, the followers of which came from lower strata of
the society. The leaders of the cult were invariably women; and the Gurus
who initiated the adept into the cult were often Sudra women. They played an
active role and acted as intermediaries between the adept and the
goddess. The women coming from lower strata of society were considered ideal
for engaging in its ritual worships, as they were not conditioned by social or
ethical taboos; and they enjoyed certain freedom and detachment.Thus, its
cult practices cut across the class and social boundaries. Because of
its nonsectarian spirit, concept of God as woman, acceptance of Sudras in
all rites, assigning a position of honor to women and recognizing them as
Gurus, and its strong faith in local customs and rituals,
Mahavidya
cult gained wide acceptable ; and it spread even into orthodox traditions.
It is perhaps because of the random nature of the group, it has now become
difficult to offer rational explanation/s that satisfactorily explain and bind all
the ten Mahavidyas into a cohesive unit.
The Mahavidya cult found strong resonance in the Shakta Tantric School
which reveres the Goddess as the Supreme. The Mahavidyas could readily fit
into its scheme. The central theme of the Shakta Sadhana is identification
with his goddess. Simply put; the aim of the Shaktha Tantric is to become
one with the goddess. According to its logic, if one is able to become the
goddess, one can obtain that which she possesses, be it knowledge or wealth
or magical power or the power to annihilate ones enemies. But, if one has to
become the goddess one has necessarily to be rid of all sorts of inhibitions,
conceits and prejudices that imprison his mind. That is to say; kill the ego
and become nothing but the feminine goddess.
Tantra identifies the power of Shakthi with the Absolute or the One. The
female principle is all important because it offers the key to creative life and
salvation. A woman is seen as the reflection of female principles; and she,
therefore, becomes an object of worship and veneration in the Tantra-Shakta
-Sadhana.In the rituals Kumari Puja or Shakthi Upasana- the woman is
treated as an image of the goddess; she no longer is an ordinary woman. That
is to say; the woman is symbolically transformed into a goddess through
rituals. In his attempt to be one with the goddess, in spirit, the male aspirant
Shakta hope to attain his goal. In the last stage of the Shaktha-sadhana the
worshipper and the worshipped become one.
grotesque
and
socially
not-acceptable.
Because,
as
way
of asserting his faith that all existence is pervaded by the goddess and there
are no distinctions of pure or impure within her, the Shakta erases the the
artificial manmade demarcations of beauty-ugliness, cleanliness polluted,
or goodness-profane etc . In fact, he overstates his intensions by resorting to
whatever that is repulsive or that which is looked down by the gentle society.
In the process, an intense Shakta adept overrides moral judgments and social
customs; and discards attachment to accepted notions and ethics.
Thus, the left-hand Shakta Sadhana of the Mahavidyas which does not
respect the social morality or the conventional standard of ethics is , by its
very nature,
The Shakta texts explain that such breaking away from approved social
norms, roles and expectations is the primary way to stretch ones
consciousness beyond the relative world of contradictions. It is here the
bizarre outsider goddesses, the Mahavidya, have their relevance. By
accepting what is forbidden or marginalized as one of the realities of life the
adept may gain a new perspective to life and existence. It might liberate
him from the inherited, imposed and narrow prejudices, and transform him
into a liberated person. The Mahavidyas are thus states of awakening.
As said earlier; many explanations are offered to interpret the nature of the
Mahavidyas and to bind them into a definite scheme. In each case, the
explanations offered hold good for three or four Mahavidyas but not for all the
ten as a group. There is no consistent unified theory that explains the group
of ten. Lets briefly look at some of those explanations.
The Mahavidyas in general are said to possess terrifying forms. But, the two
Mahavidyas Sodasi and Kamala are not pictured in frightening forms. There
is also a method of grouping of the Mahavidyas as falling under the category
of either fierce (raudra) or benign (saumya) forms. But, that explanation too
is found wanting as the Mahavidyas combine in themselves both types of
dispositions. Similarly, Mahavidyas are said to exercise magical powers and
create conflicts among people. But, it is only Bagalamukhi who is strongly
associated with such disturbing magical powers; the other Mahavidyas are
not known to posses exclusive magical powers; and such delusions are not
associated with Kamala.
Alain Danielou in his Myths and Gods of India calls the Mahavidyas as the
objects of transcendental knowledge. He explains the Mahavidyas by
corresponding them to the ten hours of the night. But he divides the ten hours
of night as five aspects of Shiva and five aspects of the Goddess: The whole
cycle of existence, like that of our day-night can be divided into ten main
parts... Five aspects of Shiva and the five aspects of the Goddess united as
day and night. His explanation too relies on ten numbers which, of course,
is not very significant in the Mahavidya-theme. The other is that Shiva is
marginalized in the Mahavidya cult. Shiva represents the male who is
suppressed. Alain Danielous explanation does not therefore seem very
convincing.
The Mahavidyas, in any case, are powerful goddesses that provide a totally
different but realistic perspective of life .Though it asserts the female
superiority, it opens a vista and a field of experience for all. By subverting or
rejecting the conventional social norms and morality it seeks to expand the
awareness of the adept and liberate her or him from narrow prejudices and
inhibitions that imprison the human mind. By becoming one with the goddess
she or he is set free; and is rid of attachment to all identities that carry names,
forms and attributes.
Kali is Adi Mahavidya, the primary Mahavidya. She is the first and the
foremost among the Mahavidyas. Even before the Mahavidya cult came into
being, she was a major goddess with large following of devotees immersed in
her mythologies, hymns and songs. She is not only the first but the most
important of the Mahavidyas. It is said, the Mahavidya tradition is centered
on Kali and her attributes. Kali is the epitome of the Mahavidyas. The rest of
the Mahavidyas emanate from Kali and share her virtues and powers in
varying shades. The Saktisamgama-tantrasays,All the Mahavidyas, Siddhividyas, Vidyas, and Upa-vidyas, are different forms that Kali assumes. She
is the exemplary Mahavidya; she alone symbolizes the fully awakened
consciousness; and she alone reveals the ultimate truth.
It is explained that Kali manifests in countless ways, but some aspects of her
are more common than others. There are therefore varied descriptions of Kali.
Each Tantric and Shakta tradition pictures her in its own light. But all
sources tend to agree on her prominent characteristics. Kali is almost always
regarded as being dark like the starlit night, with a dreadful appearance,
having four arms, holding a bloodied cleaver and a severed head in her left
hands, while her right hands gesture blessings (varadamudra) and
reassurance (abhayamudra).
garland of fifty human skulls and a girdle of seven severed human hands. Her
limbs are adorned with various ornaments. Her tongue hangs out. Her
laughter is most fearful. Kali who dwells in funeral pyres stands upon the
corpse of a male. She is the auspicious divinity truly worthy of meditation.
Kali is the symbol of eternal time (Kala) she presides over all stages of the life.
Kali is consciousness in motionthe overflowing joy that projects, sustains,
and withdraws the universe. And her destructionhas a dual aspect; she gives
birth to new life as the old one fades away in the darkness of death.
Kali is portrayed mostly in two forms: the popular four-armed form and the
ten-armed Mahakali form .She is being described as being black or deep blue.
The iconography of Kali is rich in symbolisms. It is said, Kali picture is filled
with awe-inspiring symbols, but they are not what they appear to be; and
their real meaning is in their esoteric significance.
She is dark like mountains of collyrium. Her Black does not mean absence of
color; but the absorption of all colors. It also suggests her immense power of
attraction which draws the entire existence into itself. All colors reside in her.
In Kali all colors dissolve. All shapes return to shapelessness, dissolved in the
all pervading darkness of the eternal night. Her dark color is the ultimate
reality in which all distinctions disappear.
Her three eyes govern the three forces of creation, preservation and
destruction. They are also said to represent the sun, moon, and fire; the three
modes of time (kaala): past, present and future which she governs.
Her garland of fifty human heads is said to represent the fifty letters of the
Sanskrit alphabet (varnamala), as also the power of her mantra, symbolizing
her as the repository of power and all knowledge. The girdle of the seven
Her laughter is the expression of her absolute domination over all existence.
It mocks at those who in folly of their vanity try to oppose her.
Kalis four arms represent the complete circle of creation and destruction,
which is contained within her. Her two right hands dispel fear (abhaya) and
bestow boons (varada); assuring salvation. She holds out the promise of
transformation. With her sword she cuts the knots of doubts (samshaya) and
eight types of delusions and negative traits (hatred, doubt, fear, shame,
backbiting, conformity, arrogance and status consciousness - Kularnava
Tantra). It is also the sword of wisdom and discrimination (viveka) that cuts
through ignorance and destroys falsehood. The freshly severed head of a
demon dangling from her left hand is the small ego, the false identities, the
crippling limitations that bind human thinking.
In the group of the Mahavidyas, Tara comes next to Kali. Tara closely
resembles Kali in appearance. And just as Kali, Tara too displays gentle
(saumya) or fierce (ugra) aspects. She was a prominent goddess well before
the Mahavidya cult came into being. Tara has a much wider presence outside
the Mahavidya periphery, especially in the Tantric traditions of both
Hinduism and Tibetan Buddhism. The Tantra regards Tara as potent as Kali.
Tara also figures in Jainism. In Vaishnava lore Tara was one of the goddess
who fought along with Durga to defeat the thousand-headed Ravana.
In all the three traditions, Tara the blue goddess is a guide and a protector;
and helps to tide over the stormy sea of troubles and turmoil of life (Samsaratarini). She is Tarini, deliverer or savior, one who saves guides and transports
to salvation.Tara is the deity of accomplishments and is often propitiated by
business persons for success.
Tara is associated with the speaking prowess. And, some texts equate Tara to
Sarasvathi the goddess of learning; and call her Neela (blue) Sarasvathiseated
on a lotus. As she is the goddess of speech, she is related to breathe that
manifests sound. Breath is the primal sound of life. Breath in which the
sound originates is the carrier (transporter Tarini) of knowledge conveyed
through the sound of speech. Tara is the un-manifest speech that resides in
breath and consciousness.
She
bestows
magical
powers.A
noticeable
feature
of
Taras
iconography is the halo of light that surrounds her head. And, rising above
her head is the ten headed serpent Akshobhya (the unperturbed or
unshakable) symbolizing her yogic powers.
Between Kali and Tara there are some similarities as also some differences. As
said earlier, Taras physical appearance resembles that of Kali. Like Kali, she
has three bright red eyes; has four hands holding sword or head chopper, a
scissors, a severed head and a lotus; wears the garland of skulls; is richly is
bejeweled and has snakes for ornaments; dances on a corpse. Both Kali and
Tara are strongly associated with death and dissolution; both stand upon
inert male figure. And, both are associated with Shiva. Brahaddharma purana
mentions Tara as representing time, just as does Kali. Whereas Kali is the
power of time (kala) that inexorably causes all created things to perish, Tara
is associated with fire, and particularly the fires of the cremation ground.
There are also differences in the depiction of the two goddesses. Tara's
complexion is blue whereas Kali's can be black or deep blue. Tara holds a
bowl made from a scull in one hand, a pair of scissors in another, a blue lotus
in the third hand and an axe in the fourth. The scissors and sword in the
hands of Tara are tools to remove the ego, the sense of mistaken identity that
defines,
limits,
and
binds.
They
are
not
weapons
of
death
and
destruction. Tara is draped in tiger skin around her waist; and is not naked
unlike Kali who symbolizes absolute freedom. Unlike Kali, whose hair flows
loose and wild, Taras hair of tawny color is carefully bunched into a topknot
(jata). Whereas Kalis hair represents absolute freedom from constraint,
Taras is a symbol of yogic asceticism and restraint. Kali represents the
highest form of wisdom or liberating knowledge; and Tara is related to the
discipline of yogic practices.
Pratyalidhapade Ghore Mundalamala Pasovite
Kharve Lambodari Bhime Ughratara Namostu Te
Tripura Sundari (she who is most beautiful in all the three worlds) also known
as Sodasi (the girl of sixteen) is usually listed as the third Mahavidya following
Kali and Tara .Tripura Sundari is one of the Adi (primary)Mahavidyas .She
was a well known Tantric deity even before she was grouped with the
Mahavidyas. The goddess is depicted in three forms: Tripura Bala (the young
virgin; Tripura Sundari (the beautiful) and Tripura Bhairavi (the terrible).The
last mentioned aspect - Tripura Bhairavi - is emphasized in the Mahavidya
cult. While, her other two aspects are central to the Sri Vidya tradition rooted
in the worship of Sri Chakra. In Sri Vidya, Tripura Sundari is celebrated as
Lalitha, Rajarajeshwari, Kameshwari and Mahatripura Sundari the most
magnificent transcendental beauty without a comparison in three worlds, the
conqueror of three levels of existence. Each of these forms emphasizes a
particular quality or function. In Sri Vidya, the Goddess is worshiped in her
benign (saumya) and beautiful (soundarya) aspects, following the Sri Kula
(family of Sri) tradition (sampradaya). Sri Vidya is still flourishing, particularly
in South India.
As regards the symbolisms associated with the ayudhas she holds: the noose
symbolizes attachment, the goad signifies repulsion, the sugarcane bow is
like the mind and the arrows are the five sense objects .The other explanation
says: the noose indicates the captivating power of beauty ;goad , the ability to
dissociate from attachments; the bow , the mind (manas);and the five flower
arrows, represent the five senses (jnanendriyas).The recling Shiva represents
dormant consciousnessSadashiva tattva (the ever auspicious but inert
principle of consciousness) ; and Tripura Sundari is Shakthi.
"Om Aim Hreem Shreem Sri Lalita Tripurasundari Padukam Poojayami Namah"
"Om Aim Hreem Shreem Sri Lalita Tripurasundari Padukam Poojayami Namah"