Dasha (Ten) Mahavidya

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.

Dasha (Ten) Mahavidya

Ordinarily, Vidya stands for knowledge, learning, discipline and a system of

thought. But, in the context of Tantra it has an extended meaning. Here, it
variously refers to a female deity, to the personification of her consciousness;
or to the manifestation of her wide variety of powers in specific forms at
different times for different purposes. Her varied forms-dynamic and
static-

are interpreted as explicit instances of her absolute nature. Devi

Durga is described as the Vidya in all beings; as the contrasting kinds of

energies that pervade existence (Ya Devi sarvabhutheshu, Vidya rupena
samsthita). And each of her Vidya is an illustration of her primordial
energy as Adi prakrithi or Adi parashakthi.

The Devi, in the Tantra represents consciousness functioning at different

levels of the universe -inward and outward. She also is the source of diverse
principles, energies and faculties which make the manifest and un-manifest
universe. When the countless diversity that occurs in nature, in humans and
in all existence, is personified they are visualized by the Tantric through
idioms that are familiar to him. He views each of that as a specific
manifestation of the Devi. He recognizes each expression of her as a Vidya.
Those symbolic Tantric visualizations are named Mahavidya, in awe and
reverence.

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.

Generally, the ten important

Mahavidyas enumerated in the shaktha upa-puranas - Maha Bhagavata

Purana and Brahaddharma Purana- are taken as standard forms (Kali, Tara,
Tripura Sundari (Sodashi), Bhuvaneshvari, Bhairavi,

Chinnamasta,

Dhumavati, Bhagalamukhi , Matangi and Kamala ) .They are described as the

ten great gupta ( secret ) Mahavidyas :

[Kali Tara mahavidya Sodashi

Bhuvaneswari / Bhairavi Chhinnamasta cha vidya Dhumavti tatha/ Bagala

siddha vidya cha Matangi Kamalatmika/ Etaaha dasamahavidyaaha gupta
vidyaaha prakeertitaaha]. Further, each of the ten has within itself many
layers; each carries many names; and, each form has its own sub-variations.

Dasha (Ten) Mahavidya

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

text Mundamaala tantra names a slightly different set of thirteen Mahavidyas

(Kali,

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

The origin of Mahavidyas as a group is unclear. There are various

explanations based in mythologies of the Mahadevi the Great Goddess and in
the Tantra texts. But all explanations seem to suggest that the Mahavidyas,
as a group of ten, is of comparatively recent origin; say between twelfth and
fourteenth centuries: a medieval iconographic and mythological expression
of an aspect of Mahadevi theology.

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.

Dasha (Ten) Mahavidya

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

mightyShakthi of Devi, the destroyer of Mahisha. However, as Mahavidya,

Kamala is not endowed with all those powers nor does she enjoy the same
prestige as Mahalakshmi in Tantra or Lakshmi in the orthodox tradition.
Kamala is invoked mainly in rituals seeking wealth, power and hidden

Dasha (Ten) Mahavidya

treasures. Kamala in her Mahavidya form is associated with Shiva and not
with Vishnu.

[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.]

Sodashi as Mahavidya is also referred to as Tripura Sundari the most

beauteous in all the three worlds. She along with Kali and Tara is reckoned
as Adi (primordial) Mahavidya. She is associated with sixteen phases of the
moon or sixteen modifications of desire. Sodashi as Tripura Sundari, Lalita
and Rajarajeshwari are the important goddess in the Sri Vidya tradition. But,
as Mahavidya her belligerent aspect as Tripura Bhairavi is stressed.

Though better known as the goddess of the Mahavidya group, Bhuvaneshwari

is related to Prithvi (the Mother Earth) of the Rig Veda (RV: 1.168.33). In the
Puranas she is associated especially with Varaha Avatar of Vishnu. Broadly,
Bhuvaneshwari, whose extension is the world, represents substantial forces
of the material world.

The other Mahavidyas: Chinnamasta, Bagalamukhi, Dhumavati and Matangi

are rarely mentioned except as Mahavidyas. These along with Bhiravi are
primarily tantric deities of funeral pyres and grave yards.

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

Dasha (Ten) Mahavidya

Mahatmya also refers to a group of goddesses having resemblance with
Mahavidyas, though the text does not name them as such.

[But, in the Sahasranama stotra (garland of thousand names) of the

Mahavidyas as given in Sakta-pramoda the names of the Saptha Matrikas
and the Mahavidyas have got terribly mixed up.]

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.

Dasha (Ten) Mahavidya

Appearance and Attributes

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.

The Mahavidyas, as a group, form a most wonderful assimilation of

contrasting elements and principles in nature. They all are intensely feminine,
asserting the supremacy of the female. One could say they are the anti-model
of traditional docile housewife. They totally reject every authority and any type
of dominance. They aggressively put down and overpower male ego and its
arrogance. Their agitation often transforms into dreadful wrath . And that
truly underlines the nature of the Mahavidyas.

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.

They defy traditional concepts about women. Mahavidyas are symbols of

female independence; symbols of the other ways of being feminine; the way
that threatens the male. They are highly independent, rebellious, and
stubborn; and over-domineering as if possessed of ferocious obsession to
pulverize and grind the male ego into abject submission. Their wrath burns
down every type of male arrogance. Incidentally, it is said, each Mahavidya is
so independent and exclusive that she relates only to just a few that are close
to her, but not to all the Mahavidyas in the group.

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 have fierce forms;terrifying demeanor;agitating minds; strange

and exotic characters

; untidy habits; shocking behaviors; anddestruction-

Dasha (Ten) Mahavidya

loving nature. They enjoy strong association with death, violence and
pollution. Some of the Mahavidyas are ghoul like deities of cremation grounds
and corpses, sporting wild disheveled hair, hideous features, dancing naked
and sometimes copulating with an inert male stretched flat under them. In
most cases they preside over strange tantric-magical rituals. It is their
outrageous aspects that set them apart from the other deities.

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.

the way they were intended to

Mahavidyas are not meant to be pleasant or comforting. Their

ambiguous, enigmatic, contradictory and paradoxical nature and behaviors

are intended to shock, jolt and challenge our conceited way of looking at the
world that keep us in bondage. They kick hard to awaken us; and point out
that the world is really much different from what it appears to be; and it surely
is not designed to satisfy our comforting fantasies. Mahavidyas are antimodels, provocative energies urging us to shed our inhibitions, to discard our
superficial understanding of beauty, cleanliness, goodness or the proper way
of doing things. They, in their own weird ways, challenge us to look beyond;
and to look deeper and experience what lies beneath the faade of the ordinary
world. Some scholars have therefore commented: The key to the
understanding or appreciation of the Mahavidyas lies precisely in their radical
or outrageous aspects.

Thus, in sharp contrast to the tranquil renderings of their abstract forms, the
iconographic images of Mahavidyas
aggressive expressions.

portray their terrifying aspects and

Dasha (Ten) Mahavidya

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

The Mahavidyas in general are a strange amalgam of contradictions: death

and sex; destruction and creation. In her creative aspect, Mahavidya is an
enchantress - 'the fairest of the three worlds', radiating her

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.

A couple of the Mahavidyas are pictured as beauteous, amorous and

benevolent. But in the ambience of death and destruction in which they are
placed and in the overall context of the Mahavidya tradition, they are meant
to be fearsome, demanding submission of the male. For instance, the
beautiful goddess Tripura Sundaris terrible form as Tripura Bhairavi is taken
as her authentic Mahavidya aspect. The Mahavidyas, when pleased, might
bless an adept; but that is

often by destroying or harming or suppressing

Dasha (Ten) Mahavidya

the adept's enemies or opponents. Thus destruction is at times the
Mahavidyas mode of blessing.

The Individual and the group

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.

[The tantric text Mundamala-tantra, however, makes a sub classification in

three levels. (1) Maha-vidya, the extraordinary Vidyas, consisting Kali and
Tara; (2) Vidya, the normal Vidyas consist deities Shodashi (or Tripura),
Bhuvaneshwari, Bhiravi, Chinnamasta and Dhumavathi; and (3) Siddha
Vidya, the Vidya for adepts refers to Kamala, Matangi and Bhagalamukhi.
The text does not explain the significance of the three-way classification made
or the differences it implies.]

It is also said that Mahavidyas are indeed various expressions of the

Mother: Kali is Time; Bhuvaneshwari is space; the piercing word is Tara; the
flaming word is Bhiravi; and expressed word is Matangi. Chinnamasta
combines light and sound in her thunderclap; Bhagalmukhi stuns and stifles

Dasha (Ten) Mahavidya

the flow free flow of things. The luminous desire is Sundari; and the delightful
beauty is Kamala.

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.

Some of the Vidyas have common characteristics. For instance: Kali,

Chinnamasta, Bhagalmukhi and Dhumavathi are characterized by their
power and force - active and dormant. Tara has certain characteristics of Kali
and certain others of Sundari. And she is also related to Bhiravi,
Bhagalmukhi and Matangi in aspects of sound-force (sabda) express or
implied.

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).

Dasha (Ten) Mahavidya

Worship

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

Bagala involve strongly individualized left-handed tantric rituals, rooted in

their specific Mantras and Yantras, conducted in secrecy. The worship of
these divinities requires great rigor, austerity, devotion, persistence and a sort

Dasha (Ten) Mahavidya

of ruthless detachment. The left-handedworship- practice of Mahavidya is
very difficult and is filled with risks and dangers. Its practice is not considered
either safe or suitable for common householders, as it involves rituals that
cannot be practiced normally.

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)

,mamasa (meat), matsysa (fish), mudraa ( ritual gestures or parched grains

causing hallucinations) and maithuna ( sex).

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).

Dasha (Ten) Mahavidya

[Sri Ramakrishna however emphasized and demonstrated that madya,

maithuna and intoxicating substances are indeed not necessary in tantricsadhana.]

Explanations

The

Mahavidya

texts

such

as

Tantrasara,

Sakta-pramoda

and

Shakthisamgama-tantra - elaborately narrate the various mythical origins

and the legends of the Mahavidyas. They provide exhaustive iconographic
details of each of the Mahavidyas. They also speak of the worship details,
yantras, mantras and astrological (jothishya) as also yogic significances of the
Mahavidyas. But, sadly, they do not spend much time in explaining the
principles, the logic and the conceptual aspects which lie beneath the bizarre
appearances of the Mahavidyas, or their metaphysical significances and
meanings, or their symbolisms. It therefore becomes rather difficult to explain
the outrageous appearances and habits of these goddesses: why one goddess
adorns herself with garland of skulls, another dress herself with severed body
parts, and why the third delights in cutting off her head letting the sprouting
streams of blood fall into the mouth of her own severed head. There are also
the ones who seated on a corpse pluck out a demons tongue, another who
straddles an inert male stretched on a funeral pyre, and yet another who loves
to be worshipped with rotten and polluted things. Why would anyone care to
worship a sulking old widow riding a crow?

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 faith, some say, originated as a rebellious cult intolerant of

the Brahmanical puritan notions of pure-impure, good-bad, right-wrong
and beautiful-ugly etc. It attempted to erase the distinctions between the
sublime and the profane; between ' the noblest and most precious' and the

Dasha (Ten) Mahavidya

'basest and most common . It was, however, not a religious movement. In
fact, it arose out of a strong desire to break free and be independent of all
abstruse metaphysical speculations and religious faiths.It is based upon
human experience and in the very act of living. The Mahavidya cult defies
religion and tradition. It is neither Hindu nor Buddhist in its origin, though
it later influenced the Tantric traditions of both the regions. In the words of
Sir John Woodroffe: (It) is neither religion nor mysticism but an empiricalexperiential method. It is practical, it lights the torch and shows the way. Its
approach to life is anti ascetic, anti-speculative and entirely without
conventional perfectionist clichs.

Mahavidya cult originated outside the establishment; and in due course it

was absorbed into tradition. But, it manged to retain its own independent
outlook.

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.

Dasha (Ten) Mahavidya

As the Mahavidyas gained popularity it was absorbed into Shakta Tantric

tradition. Its theme was expanded, elaborated in upa (subsidiary) puranas by
linking them to legends of the Devi and Shiva. The Puranas asserted that the
ten Mahavidyas are indeed the manifestations of ten great mantras, for a
'mantra' and 'vidya' are the same. The Sanskritized texts formalized the
worship practices by structuring it in three levels:pasu (animal), vira (heroic)
and divya (divine).Attempts were also made to provide these goddesses with
mythological backgrounds, theological status,metaphysical meanings, and
symbolic representations. But, their numbers differed according to the
disposition and preferences of each text. It varied from ten to seventy; but,
finally settled down at ten. How or why those ten goddess were chosen to form
the group of Mahavidyas was not explained.

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

Dasha (Ten) Mahavidya

will also have to awaken and realize the female principles latent in him. He
learns to sublimate his lower-nature and attune it to that of the
goddess.

Only by becoming a woman in spirit and consciousness can a

Shakta hope to attain his goal. In the last stage of the Shaktha-sadhana the
worshipper and the worshipped become one.

Towards this end he employs physical, mental, ritualistic and occult

techniques. But, in its extreme stages the technical and esoteric aspects of
the rituals prescribed by the class of Shakta practices we are now discussing
become

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,

rebellious. It defies society, religion and their authoritative

patriarchal system designed by the orthodox Bramhanical traditions.

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.

Dasha (Ten) Mahavidya

There is no single unified theory

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.

There are also explanations attempting to classify the Mahavidyas as those

falling under the three Gunas (sattva, rajas and tamas) or three colors (white,
red and black) or three dispositions (amorous, angry and benevolent) . But ,
these classifications also do not satisfactorily explain the natures of all the
ten Mahavidyas.

Another way of classifying the Mahavidyas is to treat them as dynamic or

static principles in nature. The Mahavidya shown as standing or striding over
or dominating a male figure is identified as dynamic aspects (Kali, Tara,
Bagala, Bhairavi, Tripura-Sundari, and sometimes Chinnamasta) ; while the
others are identified as static aspects (Dhumavati, Matangi, Kamala and
Bhuvaneshvari). This classification is primarily based on how the Mahavidya
is depicted in icons or in pictures; and it seems to have come about at a much
later stage when iconographic features of the individual goddesses were
developed. It may, perhaps, also be an idea imposed by the Shakta theology
on the Mahavidyas. But, many of the Mahavidyas are dynamic and static

Dasha (Ten) Mahavidya

depending upon their disposition at different times (e.g. Sundari, Tara, and
even Kali).

One other explanation mentions that Mahavidyas represent stages in a

womans life. While Sodasi, Bhuvaneshvari and Matangi are the sixteen year
young girls; Dhumavati the old widow is at the other end of life; and the rest
fall in between. But there is little or no mention of Motherhood of the
Mahavidyas.

Another explanation interprets Mahavidyas as stages or hierarchical states of

consciousness associated with the seven chakras of the Kundalini yoga. But
the problem with this interpretation is that the chakras are seven and the
Mahavidyas are ten; and there is no clear gradation among the Mahavidyas
to rank them in a particular order.

Some Tantric texts (Guhyatiguhya tantra, Mundamala tantra and Todala

tantra) identify the ten Mahavidyas with the ten Avatars of Vishnu : Kali with
Krishna; Tara with Rama ; Bhuvanesvari with Varaha; Chinnamasta with
Narasimha and so on .But , each text carries its own matching-list . In any
case, the idea seems overstretched and is not convincing.

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.

I agree with David Kinsley when he says: We seem to have no entirely

satisfactory key to understanding the connection among the Mahavidyas.
Perhaps the best we can hope for is to combine all the possibilities we have

Dasha (Ten) Mahavidya

or some sub sections of them , in our efforts to discern the coherence of the
group, to understand how such curious mix of goddesses have come together
to form the ten Mahavidyas(Tantric visions and Divine Feminine).

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.

Dasha (Ten) Mahavidya

Mahavidya Kali

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.

Mahavidyas are symbols of female independence; and, Kali demonstrates that

freedom with great abandon. She is never depicted as a submissive consort
luring with charm. She is always dominant, striding on the male with a
destructive frenzy. She challenges and demolishes the conventional notions
about looks, manners and the limited ways of understanding things.

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).

She is depicted with three eyes, white teeth,

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.

Dasha (Ten) Mahavidya

O Kali, you are fond of cremation grounds
So I have turned my heart into one
You love to dance in the light of burning pyres
At the dead of the night
Mother, come and dance unceasingly
In the cremation ground of my heart
Where all my early desires burning to ashes
Prasada waits with his eyes closed.
Kali, greatly terrifying, laughing loudly,
Elokeshi sporting disheveled hair flying in all directions
With fearful fangs, four arms holding a cleaver, a skull,
And gesturing mudras bestowing boons and dispelling fear,
Wearing a garland of skulls, tongue rolling wildly,
Digambari garbed in space in her nakedness,
Free from covering of all illusions
Thus I meditate on Kali My Mother,
Dwelling in the cremation ground of my heart
My Mother dances joyfully
Prasada watches with great delight
Ramprasad Sen (1718-75)

Kali is also pictured in more benign forms. As Dakshinakali, she is portrayed

as young and beautiful; gently smiling; standing with her right foot on the
supine, ash-besmeared body of Siva, who looks up at her adoringly. Kali in
her merciful form is protective, benevolent and a loving Mother who liberates
her children.Sri Ramakrishna Paramahansa envisioned Kali, his chosen
deity, as the love that exists at the very heart of life; and that which endures
through both life and death. Kali, he said, appears fearful only when
approached through relative forms of existence and through worldly
attachments. But when one lets his identities dissolve in the submission to
her out of absolute faith and love, she appears as the very fountain of joy.

Dasha (Ten) Mahavidya

Kali is the Supreme Goddess resolving and harmonizing the contrasting

attributes of creation and dissolution,. She is the very essence of every
existence.All the dualities of life, the light and the dark, the beautiful and the
fearsome, are united and reconciled in Kali.

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.

Iconography and symbolism

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.

Naked, clad by space, the Digambari is resplendent in her nakedness. She is

unrestrained and boundlessness; free from all limitations and all illusions.
She is beyond name (nama) and form (rupa) and all conditional existence.
Kalis nakedness signifies her absolute (nirguna) nature.

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

Dasha (Ten) Mahavidya

severed human arms that circles her waist is said to represent the versatility
and the freedom of choice inherent in all beings.

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 hierarchy of manifestations, Kali stands at the highest, the most

abstract aspect of divinity. All the dualities of life, the light and the dark, the
beautiful and the fearsome, are united and reconciled in Kali. To reach her
one has to abandon all prejudices, inhibitions; and discard all attachments,
even the attachments to ideas and concepts.
Kali Kali Mahakali Kalike Papanasini
Khadgahaste Mundahaste Kali Kali Namostu Te

"Kreem Kreem Kreem Hum Hum Hreem Hreem Dakshine Kaalika

Kreem Kreem Kreem Hum Hum Hreem Hreem Swaha"

Dasha (Ten) Mahavidya

Mahavidya Tara

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.

Dasha (Ten) Mahavidya

In contrast to the Buddhist Tara who is described as a benevolent,

compassionate, gentle and spirited young woman, eager to help and to
protect, Tara as Mahavidya is a rather fearsome goddess striking terror. She
is also moody and harmful. But at times, Tara-Mahavidya can also be
benevolent and compassionate.

Tara is described as seated in the pratyalidha asana on the chest of a corpse

stretched on a white lotus; she is supreme and laughing horribly; holding
cleaver, blue lotus, dagger and bowl; uttering the mantra Hum. She is of deep
blue color; her hair is braided with serpents, she is the Ugratara. Her tongue
is always moving. Her forehead is decorated with ornaments made of
bones.

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.

Dasha (Ten) Mahavidya

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

Om Hreem Streem Hum Phat

Dasha (Ten) Mahavidya

Mahavidya Tripura Sundari

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.

It is said; Sundari as Sodasi of sixteen years is at a delightful stage of a

womans life. Her nature is to play, to seek new experiences, and to charm
others to her. Her innocence attracts all towards her .The other explanations
mention: she is called Sodasi because the mantra of her Vidya is composed
of sixteen seed syllables (bija-akshara: ka e i la hrim; ha sa ka ha la hrim; sa
ka la hrim; and srim). Another explanation sates that the number sixteen is
also associated with sixteen her individualized aspects, kalas or sixteen
phases of moon (Shodasha kala). And, therefore this Vidya is also known as
Chandra-kala- vidya, the wisdom of the lunar digits. The Bija-aksharas are
invoked as forms of the Mother goddess. But, in the Mahavidya cult, Sodasi
is also seen as the embodiment of sixteen modification of desire.

Dasha (Ten) Mahavidya

As regards Tripura Sundari, three is her dominant number. Her name is

taken to mean: she who is beautiful in the three worlds or she whose beauty
transcends the three worlds. She is Trividha Shakthi: Bala, Sundari and
Bhairavi. The three cities (tri-pura) symbolize body, mind and consciousness.
The triangle is the main motif of Tripura Sundari carrying various
symbolisms: three fold process of creation, preservation and destruction; the
three syllables of her mantra; three gunas and three colors; three states of
awareness etc

It is explained that Mahavidyas as a group belong to the Kali-kula (family of

Kali) as Kali is the most prominent Mahavidya. Kali-kula generally is opposed
to the conservative Brahmanicaltradition, which denies the experience of the
Goddess. Kali kula is aligned to Shakta mode of worship. Further,some
aspects and dispositions of Kali, the Adi Mahavidya, are shared by all the
other Mahavidyas. For these reasons, Tripura Sundari, though she basically
belongs to Sri-kula, as Mahavidya (Tripura Bhairavi), displays traces of
aggression (ugra) and horror (ghora). The Mahavidya Tripura Sundari
(Bhairavi) is described as timeless youth, beautiful but frowning rather
angrily. The Mahavidya text Sodasi- tantra sastra describes her, at places,
as frightening, wild and perhaps dangerous. The most unusual depiction of
Tripura Sundari appears in the Vamakeshwara-tantra where she is smeared
with ashes, wears tiger skin, ties her hair in a knot over the top of her head
as a jata, carries a skull ; and holds a snake , a trident and a drum. She has
a large bull as her vehicle.

Tripura Sundari as Mahavidya combines in herself the determination of Kali,

the knowledge of Tara; and her own beauty and grace. And, following the core
ideology of the Mahavidyas, Tripura Sundari, like Kali and Tara, exercises her
domination over the male. She sits on the chest of Shiva, while the four major
gods support her throne as its legs.

Though Tripura Sundari is an Adi (primordial) Mahavidya, she is not regarded

as representing the highest state or absolute of reality (as Kali does). But, she
represents a relative state of consciousness characterized by I am this
(aham idam).She is related to yoga and heightened awareness
(consciousness).

Tripura Sundari is glowing like rising sun spreading delights of joy,

compassion and knowledge. She is depicted as a beautiful young girl of
sixteen, of red and golden complexion, having four arms holding a noose, a
goad, a sugarcane bow, and five flower arrows. She is richly adorned with
ornaments. She is sometimes shown seated on a lotus emerging out of the
navel of Shiva, who is reclining below her. At other times she is seated on the
chest of reclining Shiva or sitting on the lap of Shiva (Kameshwara). They are
on a pedestal supported by the gods Brahma, Vishnu, Rudra, and Indra. An
aura of royalty distinguishes her demeanor and her attributes.

Dasha (Ten) Mahavidya

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"