Jai Ma Kali”Sri Sri Jagadiswari Mahakali
This blasphemy reached Vishnu's ears and, in anger, he shot forth a terrible light from his forehead. Shiva, too, was angry. ascended from his lofty state of meditation and beamed a sharp ray of blinding light in the same direction as Vishnu. Brahma, Indra and the other mighty Gods did likewise, each issuing forth piercing rays of light. All the Gods' rays joined at one point and, slowly, the blazing concentration of light took shape in the form of a woman.
The light of Shiva formed her face; Yama gave her hair and Vishnu her arms. From the light of Chandra, the moon God, her two breasts were formed. Indra modeled her waist and Varuna her thighs. Earth gave her hips and Brahma gave her feet. The light from the fire God, Agni, fashioned her three eyes. Thus, all gods contributed their power to manifest the auspicious Devi, the great Mother Goddess ("Devi" is derived from the Sanskrit root word "div" which means "to shine" - the Shining One).
As soon as the Devi was fully formed, the Immortals prayed to her and worshiped her with praise, ornaments and weapons. Shiva gave her a trident drawn forth from his own, Vishnu a powerful discus, and Indra, the king of the Gods, gave her a thunderbolt identical to his own. Surya, the sun God, bestowed his rays on all the pores of her skin, and Varuna, God of the ocean, gave her a divine crest jewel, earrings, bracelets and a garland of unfading lotuses.
"Victory to the Mother," shouted the Gods as they watched the demon battalions approach with the beating of drums, battle cries, and the blowing of conches. Since the
Devi was of enormous size and highly visible, the demons marched straight toward her, attacking from all sides with arrows, clubs, swords, and spears.
Unperturbed, the Devi roared loudly and laughed a frightening, defiant laugh. Again. And again. And then her ten arms rotated, alternately smashing weapons of the demons and hurling them back at her attackers. With great ease, she picked up dozens of demons at once, killing them with her sword. Some demons she didn't even bother to pick up. She stupefied them with the tremendous noise of her bell and then crushed them with her mace.
The demon Raktabija gave the fierce Mother Goddess a fair amount of troubles. He possessed a special magical power which allowed him to create new demons from his own blood. Whenever the Goddess wounded him, each drop of blood that spilled to the ground sprouted another demon full of strength and brutality. But in the end the Mother outwitted him. She picked up Raktabija and lifted him high into the air to avoid spilling his blood on the ground, and then, gnashing him between her teeth, she drank his blood and swallowed him whole.
Other demons, too, tried to confuse the Goddess with their magical powers. Whenever they were threatened by the Devi, they changed their form and color. But, who can escape the great Mother? Bound by her noose and spitting blood, these demons were soon caught by the Devi. And like a child pulling a toy train, she dragged them over the battlefield where scores of demons already lay split into two by the sharp slashes of her sword.
Snatching some elephants with one hand, the Devi flung them into her mouth and, together with the demon drivers, she furiously ground them up with her teeth. She seized one demon by the hair and another by the neck. One she crushed by the weight of her foot and another she crushed with her body.
The Mother's terrible presence filled even the sky. Black clouds gathered and terrifying lightning lit up the ghastly shapes on the ground. There were demons without arms, without legs, and demons torn asunder in the middle of their trunks.
When Mahishasura, the king of the demons, saw his army devastated by the blows of the terrible Mother Goddess, his fury knew no bounds. He expanded his body to take on the fierce shape of a giant buffalo. Intoxicated with his own strength and valor, he roared and charged toward the Devi.
"Roar, roar, O fool," shouted the Goddess. "Roar for a moment. When you are slain by me, the gods will soon roar in this very place."
The earth began to tremble under the stomping feet of the Goddess. Mahishasura fought with all his might but could not conquer the Devi. So he appealed to her sense of justice, complaining that she fought in an unfair way. The Devi, he claimed, received help from so many fierce Goddesses - Durga, Kali, Chamunda, Ambika, and others - and he, Mahishasura, had to fight all by himself.
"I am all alone in the world here," thundered the Devi. "Who else is there besides me? See, O vile one, these Goddesses are but my different powers which again enter into my own self. I stand alone. Don't back off; defend yourself."
The savage fight continued, and the great demon attacked the Mother Goddess with showers of arrows. He hurled discuses, swinging his clubs and mace. To no avail. The Devi killed him with her spear, releasing the soul from its evil-natured body and mind.
Dust clouds carried the stench of singed skin and rotting flesh to the blood-red horizon. The demons had been killed, and their blood flowed, accumulating here and there in small pools around the carcasses of elephants and horses. Only some headless torsos of demons who refused to give up life still fought the Devi. The battle shrieks had died and the only cries now were those of jackals and hyenas. There was nothing left to kill, but the blood-intoxicated Mother in the form of Kali continued the carnage - smashing and slashing dead demons all over again.
The Gods, who had begun to celebrate victory, became filled with fear. Who was going to stop her? There was only one who could: Shiva, the great God. Besmeared with ashes, the third God of the Hindu Trinity went to the battlefield and lay down motionless among the corpses while the rest of the Gods watched from a safe distance.
The intoxicated Kali staggered across corpses until, suddenly, she found herself standing on top of a beautiful male body - nude and besmeared with white ashes. Awed, she stood still for a moment, looked down at him, and saw straight into the eyes of her husband Shiva. When she realized that she was touching her divine husband with her feet - an unthinkably disrespectful act for a Hindu wife - Kali stretched out her tongue in shame and the destruction came to an end.
For those who have grappled with their own ego, the personification of the demons in this story is striking. When the demons first glimpsed the Mother they charged. The darkness sees the light and does not comprehend it. The ego attacks that which it does not understand or that which threatens it.
The demon with the magical power of sprouting a new demon each time a drop of its blood reaches the ground is reminiscent of spiritual pride. This is the power of the ego to inflate itself over "perceived" success in making spiritual progress. Thus spiritual progress is next to impossible as long as spiritual pride keeps sprouting a new demon each time the ego is slashed by some spiritual insight or experience. The ego whispers in our ear, "See what a great spiritual aspirant you are."
Other demons changed form when threatened by the Devi. The ego shifts its position with astounding cunning by the power of rationalization. Mahishasura, the demon king, was intoxicated with his strength and valor and changed into a buffalo. The ego is always consumed with self-importance. When he saw that he was not winning, he tried to fool the Mother with self-pity and claimed that Her many forms were an unfair advantage. The Mother saw through the ploy and destroyed his self-pity with the Truth stating that there was only one Mother. The ego was destroyed and the soul found liberation in Her quick and deadly spear of compassion.
TEMPLE ORIGINIn the year 1847, the wealthy widow Rani Rasmani prepared to go upon a long pilgrimage to the sacred city of Banaras to express her devotions to the Divine Mother. In those days there was no railway line between Calcutta and Banaras and it was more comfortable for rich persons to make the journey by boat rather than by road. We are told that the convoy of Rani Rasmani consisted of twenty four boats carrying relatives, servants, and supplies. But the night before the pilgrimage began, the Divine Mother, in the form of the goddess Kali, intervened. She appeared to the Rani in a dream and said, "There is not need to go to Banaras. Install my statue in a beautiful temple on the banks of the Ganges river and arrange for my worship there. Then I shall manifest myself in the image and accept worship at that place." Profoundly affected by the dream, the Rani immediately looked for and purchased land, and promptly began construction of the temple. The large temple complex, built between 1847 and 1855, had as its centerpiece a shrine of the goddess Kali, but also had temples dedicated to the deities Shiva and Radha-Krishna. A scholarly and elderly sage was chosen as the head priest and the temple was consecrated in 1855. Within the year this priest died and his responsibility passed to his younger brother, Ramakrishna, who over the next thirty years would bring great fame to the Dakshineswar temple.
RAMAKRISHNA @ KALI MANDIR
Ramakrishna did not serve for long as temple's head priest however. From the first days of his service in the shrine of the goddess Kali, he was filled with a rare form of the love of God known in Hinduism as maha-bhava. Worshipping in front of the statue of Kali, Ramakrishna would be overcome with such ecstatic love for the deity that he would fall to the ground and, immersed in spiritual trance, lose all consciousness of the external world. These experiences of God-intoxication became so frequent that he was relieved of his duties as temple priest but allowed to continue living within the temple compound. During the next twelve years Ramakrishna would journey ever deeper into this passionate and absolute love of the divine. His practice was to express such intense devotion to particular deities that they would physically manifest to him and then merge into his being. The various forms of god and goddess such as Shiva, Kali, Radha-Krishna, Sita-Rama, Christ and Mohammed frequently appeared to him and his fame as an avatar, or divine incarnation, rapidly spread throughout India. Ramakrishna died in 1886 at the age of fifty but his life, his intense spiritual practices, and the temple of Kali where many of his ecstatic trances occurred continued to attract pilgrims from all over India and the world. While Ramakrishna grew up and lived within the domain of Hinduism, his experience of the divine went far beyond the bounds of that, or any other, religion. Ramakrishna fully realized the infinite and all-inclusive nature of the divine. He was a conduit for divinity into the human world and the presence of that divinity may still be clearly experienced at the Kali temple of Dakshineswar.
The 'Siva-Mahimna Stotra' composed by Pushpadanta is the most popular hymn on Siva in North India. Sri Ramakirshna certainly knew it by heart. One day he was reciting this hymn in one of the twelve Siva temples at Dakshineswar when he came to the following verse:
"Asitagirisamam syat kaijalam sindhupatre
Surataruvarasakha lekhanipatramurvi
Likhati yadi grihitva Sarada sarvakalam
Tadapi tava gunanamisa param na yati."
which means: "Oh Lord, if the blue mountian be the ink, the ocean the ink-pot, the biggest branch of the heavenly tree be the pen, the earth the writing leaf and taking these if Sarada, the goddess of learning, writes for eternity, even then the limit of Your virtues will not be reached."
Reciting the aforesaid verse, Sri Ramakrishna entered into an ecstatic mood and cried out again and again, "O Great God, how can I express your great glory?" All came running towards that spot hearing the cries of Thakur. Mathur Babu was in the temple at that time. Hearing the uproar, he also came and prevented others from removing Sri Ramakrishna forcibly from the Siva temple. Mathur had already formed a high opinion about Sri Ramakrishna by that time. When Thakur came down to normal consciousness and saw the crowd, he asked Mathur whether he had done anything wrong. Mathur saluted him and said, "No, Ba Ba (father), you were reciting a hymn: I stood here lest some one should disturb you unthinkingly." Thus Mathur Babu protected and served Thakur in all possible ways for fourteen years like Nandi who eternally serves Lord Siva. Truly Mathur Babu and Hriday were to Sri Ramakrishna, what Nandi and Bhringi are to Siva. At another time, Mathur Babu actually saw Sri Ramakrishna as Siva and Kali alternately, as Thakur was pacing up and down.
Jyotirlingas at the Kali MandirThere are twelve most holy Sivalingas known as Jyotir-Lingas, the manifestations of Siva in the form of emblems representing light. In the Dakshineswar temple also, twelve temples of Siva have been constructed in a row by Rani Rasmani, who perhaps had in mind the twelve Jyotirlingas. Sri Ramakrishna himself was a living Jyotirlinga of Siva as he was the embodiment of divine light which arose out of Jugi's Siva Temple of Kamarpukur. Thus it is no wonder that Thakur was much devoted to the twelve 'Jyotir Lingas' or Siva installed at Dakshineswar.
Sri Ramakrishna could not worship for long the twelve Sivalingas in the Dakshineswar temple which are called Yogeswar, Jatneswar, Jatileswar, Nakuleswar, Nakeswar, Nirjareswar, Nareswar, Nandiswar, Nageswar, Jagadiswar, Jaleswar and Yajneswar. Among these twe1ve Sivas, Jagadiswar (literally, Lord of the world) seems to be especially important, as the real name of the Kali at the Dakshineswar temple is 'Sri Sri Jagadiswari Mahakali.' Sri Ramakrishna himself was Jagadiswar-Siva who actually realised that the Jagad (world) itself is Iswara (Siva). He said "One day while worshipping Siva I was about to place a betle- leaf on the head of the image, when it was revealed to me that this Virat, this Universe, itself is Siva. After that my worship of Siva through the image came to an end." But he used to send his young disciples to the twelve Siva temples for meditation.
Kali Pooja / OriginsKali Ma called the "Dark Mother” on the night of Diwali (Amavasya, the darkest night), while the rest of India worships Lakshmi, the goddess of prosperity, Eastern India, particularly West Bengal worships Kali, the Goddess symbolizing strength. Spectacular images of Kali, installed by the community, are worshipped and immersed in rivers or sea. Kartik is the opening month of the year of the Vikram era.
A 1768 publication Shyam Sarpya Biddhi by Kashinath mentions, the celebration of Kali Puja. It is said that Maharaja Krishnan Chandra of Nawadweep gave an order that everyone, in his domain should worship Kali. Punishment was given to the defaulters. Thus more than 10,000 images of Kali began to be worshipped in his domain. Before the present Kali Puja, Ratanti Kali Puja was celebrated in ancient times.
It is believed that the present form of the image of Kali, is due to a dream seen by Krishnanand, author of Tantric Saar, that he should make her image after the figure, he saw first in the morning. The image should then be worshipped. At dawn Krishnanand sa a dark complexioned girl with left food protruding and making cow dung cakes with her right hand. Her body was shining with white dots. While wiping off the sweat from her forehead with left hand, the vermilion had been spread in her parted hair. The hair was disarranged. All of a sudden, seeing an elderly, she ejected her tongue with shame. Thus so formed the image of Kali.
Kali Puja is only a onenight festival (darkest night of the dark fortnight of the
Kali Ma – A Global PerspectiveKali Ma, called the "Dark Mother," is the Hindu goddess of creation, preservation, and destruction. She is especially known in her Destroyer aspect, squatting over her dead consort, Shiva, devouring his entrails while her yoni sexually devours his lingam, penis. Kali, in this aspect is said to be "The hungry earth, which devours its own children and fattens on their corpses…" In India the experience of the Terrible Mother has been given its most grandiose form ofKali, which just is not simple imagery; it is the image of the Feminine, particularly the Maternal, for in a profound way life and birth are integrally connected to death and destruction.
Kali serves as the archetypal image of the birth-and-death Mother, simultaneously the womb and tomb, giver of life as well as the devourer of her children: the identical image was portrayed in a thousand ancient religions. Current psychologists face this image with an uneasy acknowledgement of its power. Apparently the image of the angry, punishing, castrating Father seems less threatening than the destructive Mother--perhaps because she symbolized the inexorable reality of death, whereas he only postulated a problematic post-mortem judgment. Perhaps this is one reason the Roman Catholics maintain the teaching of purgatory, to divert the final end.
The full importance of the profound meaning of the functions of Kali as the live-giver, preserver, and destroyer have been dismissed or destroyed over the centuries, as have been the aspects of other manifestations of the goddess. Many western interpretations of Kali in art and literature just depict the destructive aspect of this goddess, which tend to portray her as fearsome and evil. In the London Museum is an image of her which is labeled "Kali-Destroying Demon." The Encyclopedia Britannica devotes five columns to the Christian interpretation of the Logos and dismisses Kali's part in the creation of the world. This deity is mentioned in a brief paragraph as the consort of Shiva, and "a goddess of disease."
In Hinduism Kali's three functions are assigned to the gods: Brahma, the creator; Vishnu, the preserver; and Shiva, the destroyer. It is noted that Vishnu, who is thought to have brought the world out of the primal abyss, wrote the following about Kali: "Maternal cause of all change, manifestation, and destruction…the whole Universe rests upon Her, rises out of Her and melts into Her. From Her crystallized the original elements and qualities which construct the apparent world. She is both mother and grave… The gods themselves are merely constructs out of Her maternal substance, which is both consciousness and potential joy."
As a Mother, Kali was called Treasure-House of Compassion (karuna), Giver of Life to the World, the Life of all lives. Despite the popular western belief that she is just a Goddess of destruction, she is the fount of every kind of love, which flows into the world through women, her agents on earth. Thus, it is said of a male worshipper of Kali, "bows down at the feet of women," regarding them as his rightful teachers.
Some say the name Eve perhaps originated from Kali's leva or Jiva, the primordial female principle of manifestation; she gave birth to her "first manifested form" and called him Idam (Adam). She also bore the same title given to Eve in the Old Testament: Mother of All Living (Jaganmata).
Although referred to as "the One," Kali was always a trinity Goddess: Virgin, Mother, and Crone. This triad formed perhaps nine or ten millennia ago has been manifested in many cultures: the Celts with their triple Morrigan, the Greeks with their triple Moerae, the Norsemen with their Norms, the Romans with their Fates and triadic Uni (Juno), the Egyptians with their triple Mut, and the Arabian Moon-goddess. Kali can be identified everywhere. Her trinity is recognized in the Christian triple Godhead; some conclude this Godhead is all male, not nothing that in the Hebrew Old Testament the word for Spirit, ruwach, was of feminine gender.
Blood sacrifice was important in the worship of Kali as they were in the worship of the early Biblical God, the commanded that the blood must be poured on his alters (Exodus 29:16) for the remission of sins (Numbers 18:9), but there were differences. Jewish priests ate the sacrificial meat themselves whereas the devotees of Kali were permitted to eat their own offerings as in Calcutta. Kali demanded only male animals be sacrificed; a custom dating back to the primitive belief that the male had no part in the cycle of generation. The god Shiva, Kali's sacrificial spouse, commanded that female animals must not be slain on the altar.
Kali was the Ocean of Blood at the beginning of the world; she might be said to be the primordial mass from which all life arouse; and her ultimate destruction of the universe is prefigured by the destruction of each individual, though her karmic wheel always brought reincarnation. After death came nothing-at-all, which Tantric sages called the third of three states of being; to experience it was like the experience of Dreamless Sleep. This state was also called "the Generative Womb of All, the Beginning and End of Beings." Kali devoured Time, she resumed her "dark formlessness," which appeared in all myths of before-creation and after-doomsday as elemental Chaos.
The Tantric worshippers of Kali readily acknowledged and accepted her Curse; they willing accepted her terror of death as well as they accepted her beautiful, nurturing, maternal aspect. They knew the coin of life has two sides, life and death; one cannot exist without the other. Kali's sages communed with her in the grisly atmosphere of the cremation ground, to become familiar with the images of death. Her devotee would say, "His Goddess, his loving Mother, in time who gives him birth and loves him in the flesh, she also destroys him in the flesh. His image of Her is incomplete if he does not know her as his tearer and devourer."
The name Kali Ma comes from Kalma, a hunter of tombs and eater of the dead, as she was called in Finland, also called the Black Goddess. European "witches" worshipped her in funeral places, for the same reasons, that the Tantric yogis and dakinis worshipped her in cremation grounds, as Smashana-Kali, Lady of the Dead. Former pagans adored her in cemeteries as the Black Mother Earth, where the Roman tombstones invoked her with the phrase Mater genuit, Mother receipt-the Mother bore me, the Mother took me back.
Sometimes Kali, the Destroyer, wore red symbolizing the blood of the life that that she gave and took back: "as She devours all existence, as She chews all things existing with Her fierce teeth, therefore a mass of blood is imagined to be the apparel of the Queen of the Gods at the final dissolution." The gypsies in their worship of Kali, the Goddess of disease, clothed her in red, the proper color of gypsy funerals.
KALI - SHAKTIShe is the goddess in her form as Dakshina Kalika - one of the most popular Bengali images of the goddess. Her guises are many, and include Bhadra (auspicious) Kali, Shmashana (cremation ground) Kali, Guhya (secret) Kali and a host of others. It is only in the great tantrik traditions that we find a clue to the real meaning of the gruesome images associated with Kalika. Although Hinduism was much reviled by early Western colonisers for its idolatry and pantheistic practices, this was a very narrow view. Tantrik texts repeatedly speak of the Devis or goddesses as being aspects of the one goddess. The same holds true for the male aspects. As individual humans all reflect the macrocosm, it's fair to describe the gods and goddesses of tantra as specialised aspects of ourselves - and, therefore, of life itself.
Yet life has its dark and its light sides. Death and love, in the tantrik tradition, are two sides of the same coin. As we look to the sky, we can see the Sun and Moon as symbols of male and female, of Shiva and Shakti. In the tantras, the Moon is often taken as a symbol of the Devi, whether in its dark or its bright fortnight. When She wanes, her images and her iconography become progressively more dark and fearsome. But when She waxes, so her images brighten. When she is full, She is Devi Tripura. Tripura is a name of the goddess meaning three cities. These allude to her own triple nature as a maiden (Bala) as a fecund woman (Tripura) and as a post-menstruating woman (Tripura Bhairavi).
Sir John Woodroffe (Arthur Avalon), writing in the Garland of Letters, says Kali is the deity in her aspect as withdrawing time into itself. "Kali is so called because She devours Kala (Time) and then resumes Her own dark formlessness." (Garland of Letters, page 235). Woodroffe says some have speculated that Kali was originally the Goddess of the Vindhya Hills, conquered by the Aryans. The necklace of skulls which makes up her image, he adds, are those of white people. Relying on the texts themselves, gives insight into the tantrik idea of Kali. In the Kulachudamani Tantra (KT), Lord Shiva asks questions answered by Devi, the goddess. It is, probably, one of the oldest tantras, according to Woodroffe, who published the Sanskrit text with an English introduction in his Tantrik Texts series.
In eight short chapters, Devi expounds the essence of her worship, sometimes in most beautiful imagery. But the uncanny side of Kaula and Kali worship is dwelt on in great detail, with references to siddhis - magical powers - including a mysterious process where the tantrik adept leaves his body at night, apparently so he can engage in sexual intercourse with Shaktis. Animal sacrifice also has a place in this tantra.
The siddhis play a large part in the worship of the uncanny goddess Kali. The main tantrik rites are called the six acts (shatkarma) of pacifying, subjugating, paralysing, obstructing, driving away, and death-dealing. But the KT includes others such as Parapurapraveshana, which is the power of reviving a corpse, although according to some it means the ability to enter another's living body; Anjana, an ointment which lets a sadhaka see through solid walls; Khadga which gives invulnerability to swords; Khecari, which gives the power of flying and Paduka Siddhi, magical sandals which take you great distances, rather like seven league boots.
Certainly, the importance of having a suitable Shakti is important, according to the instructions Devi gives to Shiva. Devi here takes the form of Mahishamardini, more popularly known as Durga, who destroyed the two arch-demons Shumbha and Nishumbha in an epic battle between the goddess and the throng of demons. It was at this time, according to legend, that Durga created Kali, emanating her out of her third eye.
We learn more of Durga's legends and myths from the Kalika Purana. The Devi, Mahamaya, appeared as Bhadra Kali - identical with Mahishamardini - in order to slay the demon Mahisha. He had fallen into a deep sleep on a mountain and had a terrible dream in which BhadraKali cut asunder his head with her sword and drank his blood.
The demon started to worship Bhadra Kali and when Mahamaya appeared to him again in a later age to slaughter him again, he asked a boon of her. Devi replied that he could have his boon, and he asked her for the favour that he would never leave the service of her feet again. Devi replied that his boon was granted. "When you have been killed by me in the fight, O demon Mahisha, you shall never leave my feet, there is no doubt about it. In every place where worship of me takes place, there (will be worship) of you; as regards your body, O Danava, it is to be worshipped and meditated upon at the same time." (Kalakikapurana, ch.62, 107-108.)
For this reason, the image of Mahishamardini always has her trampling the buffalo Mahisha.
When She, the goddess, is dark, She is Devi Kalika, an equally high symbol of death and destruction. Throughout Her different manifestations and phases, She remains the one true goddess, Shakti, energy itself. She is symbolised by the yoni and the female cycle, which also shows waxing and waning throughout the month. Her spouse, Shiva, is symbolised by the Sun, by the phallus, by sperm, and as an emblem of consciousness without attributes. According to the tantrik phraseology "Only when Shiva is united with Shakti has Shiva power to act. Otherwise he is a corpse (shava)."
Another black deity of the Indian sub-continent has a close connection with Kali - Krishna. According to the Kalivilasa Tantra, he was born from the golden goddess Gauri, who turned black after she was hit by an arrow from the Hindu cupid, Kama.
Kali is Shakti, the great goddess, creating the three gunas: sattvas, rajas and tamas. The three gunas in their various permutation create all the fabric of the universe, including the five elements, skin, blood, etc..
These principles are the substance of she whose play (lila) is their modification. Kali is the first and foremost of the ten aspects of the goddess. She is pure sattvas, pure spirit.
A sadhaka (male) or a sadhvika (female) can worship the goddess -- the Devi -- in any of ten forms for the fruition of desires. Her ten major forms are Kali, Tara, Shodasi, Bhuvaneshvari, Bhairavi, Chinnamasta, Dhumavati, Bagala, Matangi and Kamala. These aspects are known as the ten mahavidyas.
To a sadhaka, to know these is to know the universe, as she is both space and time and beyond these categories. Each form has its own dhyana (meditation), yantra (diagram), mantra (sound form) and sadhana (actions).
Mahavidya Kali is the primordial Devi who is the root of all the Great Knowledges (mahavidya). Worshipped by sadhakas and sadhvikas, her outer forms are fearful. She destroys time, is time, and is the night of eternity.
Kali, certainly in the left hand tantrik tradition (vamachara), which is the path into Vama (woman and left) enters, is subject to much misunderstanding. The right hand path (dakshinachara) does not include the sexual component, while Vamachara allows sexual intercourse as part of her worship.
According to Sir John Woodroffe, in his introduction to the Karpuradistotra, which is a 22 verse hymn on Dakshina Kalika, pashus - those of a base disposition, are forbidden to engage in sexual sadhana at night. "The Pashu is still bound by the pasha (bonds) of desire, etc., and he is, therefore, not adhikari for that which, if undertaken by the unfit, will only make these bonds stronger." Verse 10 of the Karpuradistotra spells out the practice. "If by night, Thy devotee unclothed, with dishevelled hair, recites whilst meditating on Thee, thy mantra, when with his Shakti youthful, full-breasted, and heavy-hipped such an one makes all powers subject to him and dwells on the earth ever a seer." Worship of Kali is for the hero (vira) or a person of a highly spiritual nature (divya)
Kali's imagery is full of ambiguity, and this is deliberate on the part of the tantrik adepts who worshipped her.
As an example, according to some texts, the Kali sadhana takes place on a Tuesday, at midnight, in the cremation ground. Here, surrounded by jackals, owls and other uncanny creatures of the night, the sadhaka and his Shakti select a newly dead male corpse, which should be, according to the texts, of a young man preferably a king, a hero or a warrior. If he has recently died in battle, so much the better. Placing the corpse face downwards, the two draw the Kaliyantra on his back, offer each other food, wine and other good things, and then commence the act of ritual sex. At the close of intercourse, the man offers his Shakti one of her public hairs smeared with his semen and, if she is menstruating, blood.
Woodroffe says that the worship of Kali in the pashu mode is totally forbidden by Shiva, quoting the influential Niruttara Tantra as his source. "By the worship of Kali without Divyabhava and virabhava the worshipper suffers pain at every step and goes to hell. If a man who is of the Pashubhava worships Kali then he goes to the Raurava Hell until the time of final dissolution."
As to the matter of a suitable Shakti for the sexual rites of Kali, the NT suggests that when a sadhaka has already achieved success with his own Shakti, he may then worship another woman. But Woodroffe says this other woman is the supreme Shakti in the sadhaka's own body.
The cremation ground is often interpreted as the place where all desires are burnt away. Before realising kaivalya (liberation), the sadhaka must burn away all the taboos and conditionings which prevent this liberation.
The cremation ground (shmashana) is also the supreme nadi or channel within the human organism - the sushumna -- The central channel of bioenergy within the spine of a human being, the royal road of Kundalini.
There the Devi or goddess is coiled up three and a half times at the base of the spine. When she unfolds and enters the sushumna, the bliss of this cosmic orgasm causes the universe to disappear. On the sadhaka within the shmashana yantra is Shakti, both entwined in close sexual embrace. She is the human form of Kali, as he is the human form of Shiva. Both are forever united. The Niruttara Tantra says (2, 27) "The cremation ground is of two kinds, O Devi, the pyre and the renowned yoni. Shiva is the phallus, Kuleshani! So Mahakala said." Questioned later by Shri Devi in the same tantra, Shiva says that the vagina is Dakshina herself, in the form of the three gunas, the essence of Brahma, Vishnu and Shiva. These three forms represent the powers of creation, maintenance and destruction. They have their Shakti counterparts.
"When she has the semen of Shiva, she is Shiva-Shakti." (NT)
The Karpuradistotra comments on animal sacrifice. Male creatures may only be sacrificed to Kali, else she becomes furious. Verse 19 says that worshippers of Kali who sacrifice the flesh of cats, camels, sheep, buffaloes, goats and men to her become accomplished. A commentary by a Kaula, Vimalananda Svami, which Woodroffe only partially translates, claims these animals represent the six enemies with the goat representing lust, the buffalo anger, the cat greed, the sheep delusion, the camel envy. Man represents pride. However, according to other sources, only a king may perform the sacrifice of a man.
At the great temple of the Devi at Kamakhya in Assam, there is evidence that male human sacrifice was performed in the past. This site is renowned for Shakti worship because of a legend that Vishnu once cut the body of Shakti into 50 pieces with his discus. These parts represent the letters of the Sanskrit alphabet and are pithas (pedestals = sacred sites) of Devi. The yoni of Shakti fell at this spot, making it the most sacred of all.
Who, then, is Kali? Devi gives her own description in the Kulachudamani: "I am Great Nature, consciousness, bliss, the quintessence, devotedly praised. Where I am, there are no Brahma, Hara, Shambhu or other devas, nor is there creation, maintenance or dissolution. Where I am, there is no attachment, happiness, sadness, liberation, goodness, faith, atheism, guru or disciple.
"When I, desiring creation, cover myself with my Maya (The great power of Shakti to delude all created things through Her play, ed.) and become triple and ecstatic in my wanton love play, I am Vikarini, giving rise to the various things.
"The five elements and the 108 lingams arise, while Brahma and the other devas, the three worlds, Bhur-Bhuvah-Svah (the three worlds) spontaneously come into manifestation.
"By mutual differences of Shiva and Shakti, the (three) gunas originate. All things, such as Brahma and so forth, are my parts, born from my being. Dividing and blending, the various tantras, mantras and kulas manifest. After withdrawing the five fold universe, I, Lalita, become of the nature of nirvana. Once more, men, great nature, egoism, the five elements, sattvas, rajas and tamas become manifested. This universe of parts appears and is then dissolved.
"O All-Knowing One, if I am known, what need is there for revealed scriptures and sadhana? If I am unknown, what use for puja and revealed text? I am the essence of creation, manifested as woman, intoxicated with sexual desire, in order to know you as guru, you with whom I am one. Even given this, Mahadeva, my true nature still remains secret."
The Yogini Tantra describes the goddess as the cosmic mother (Vishvamata), dark as a thunderstorm, wearing a garland and waistband of skulls, with dishevelled hair, completely naked (digambaram).
She has a rolling tongue, makes a terrifying roar, three reddened eyes, and has a wide open mouth. She wears a moon digit on her forehead, has the corpses of two boys as her earrings, and is adorned with various gems, which are of the brightness of the Sun and the Moon.
Laughing loudly, she has two streams of blood pouring from her mouth, while her throat is red with blood. In her four arms she holds cleaver, head, and makes mudras dispelling fears and granting boons. She, the supreme Nitya, is seated in reverse (viparita) intercourse with Mahakala upon the corpse of Shiva. The whole scene is set in the cremation ground.
Yet, as with most other tantrik symbolism, the meaning of this cremation pyre operates on multiple levels. The pyre is also the yoni. Sir John Woodroffe (Arthur Avalon), says Kali is the deity in her aspect as withdrawing time into itself. "Kali is so called because She devours Kala (Time) and then resumes Her own dark formlessness." Garland of Letters , page 235.
There is a wealth of other material about Kali and her different manifestions on this site. For example, the Kulachudamani Tantra, refers to her aspect as Mahishamardini. See the Brihadnila Tantra, which has chapters devoted to both Kali and to the goddess Tara. We also publish here abstracts of the Kaulavalinirnaya tantra, the Niruttara Tantra and the Rudrayamala Tantra, all of which have extensive references to Kalika.
View Her yantra, her secret sadhana, or see Hindu tantrik translations online
WHY KALI HAS HER FOOT ON SHIVA?In Bengal, Diwali is celebrated as Kali Puja, the day that the goddess Kali is worshipped. Kali is hideously ugly and terrifying to look at - but only because she is so angry at the wickedness in this world. Kali is the destroyer of all evil, and is worshipped as such on Kali puja.
The story of Kali that is told to children in Bengal on the occasion of Kali Puja is as follows:
Long long ago, the world was overrun with evil - men had turned to wicked ways, and demons, rakshasas and ogres thrived and prospered. The gods were helpless. They could do nothing to control or contain the evil in the world.
In desperation they turned to the supreme goddess Devi for help. Devi agreed to end the evil, and took on the black and frightening form of the goddess of destruction to do so. This form of Devi is known as Kali, which means 'black'. Devi in the form of Kali then went on a rampage of destruction, killing and destroying all the evil men and demons in the world.
Kali became so angry that she could not stop, even when all the evil had been destroyed. She began destroying the entire world in her fury. The gods asked her to stop, but she didn't hear them. They turned to Shiv her husband for help as the only one who could stop her. But Kali didn't hear him either. So Shiv lay down in her path - and only when she put her foot on him did she come to her senses, and stop her madness of destruction.
Kali is worshipped in her destructive mode. She is terrifying to look at, black and furious, with four hands, dripping blood and dressed in skulls. She is shown with one foot on Shiv who lies prone in her path, and with her tongue sticking out in shock and horror as she realises the destruction she is causing.