Sacred Residence of Ma Kali

Disclaimer: You may not stomach a few facts in this article...

Who is this unique warrior woman?

Her terrifying war cry pervades the universal battleground.

Who is this incomparable feminine principle?

Contemplating her limitless nature,

The passion to possess and be gratified dissolves.

Who is this elusive wisdom woman?

Her smooth and fragrant body of intense awareness

is like the petal of a dark blue lotus.

A single eye of knowledge

Shines from her noble forehead

Like a moon so full its light engulfs the sun.

This mysterious Goddess, eternally sixteen,

Is naked brilliance, transparent in sight

Cascades of black hair stream down her back

To touch her dancing feet.

Perfect in the art of wisdom warfare

She is the treasury of every excellence,

The reservoir of all that is good.

Her poet sings with unshakable assurance:

"Anyone who lives consciously in the presence

of this resplendent savioress

can conquer Death with the drumbeat

Ma! Ma! Ma!"

Original Poetry: Ramprasad Sen

Translated by: Lex Hixon

The hunt for the sacred residence of the Goddess Kali has been on for a while now from reading about the mother who roams the Shamshan by night to her temples that dot the countryside mostly occupied by Saktha worshipers. It took me to the ancient city of Kolkata, Tarapith and Nalahati known primarily for their Shakti Peethas. This journey was not just about visiting these temples and having a darshan of the Mother, it turned out to be much more than that.

For the average passerby the darshan at the main Shakti Peetha seems to be the achievement, but when I came back home to study more on the Mother, the revelation was far more intense. Kali has made an appearance in my mind many times, not letting me sit relaxed with contentment that I have figured her out. My journey to discover her has just started. It has led me to set sail from the shores of standard Tantrik sadhana to the ocean of literature of great Tantrik Bengali Poets like Premik, Ramprasad Sen and Kamalkanta who have sung songs in her name. Kali Ma has turned mysterious with every new discovery I made dwelling deeper into the lives of her Sadhaks.

The first striking quest of the Mother is her association with Sati. Kali Ma is what appeared and destroyed Daksha when Sati rubbed her nose in anger over the disgrace of her husband. This is one reference from mythology, but the greater symbolism is the association of Sati with her death. Sati's corpse hung of Lord Shiva's shoulders as he roamed the worlds in sorrow and madness carrying her dead being with him. Sati's corpse is what falls on this blessed earth when Vishnu destroyed her. What echoes in this mythology is the anger of Sati in the form of Kali, and her corpse that adorns this earth at various places bring home the idea of death being closely association with the worship of the Mother.

Kali Ma is associated with all those who dwell around the shamshan; men in this world who take to worshiping her and beings from the other worlds who make similar contact. The inhabitants of these worlds are rakshasas, asuras, vetalas, yoginis, dakinis, gandharvas, kinnaras, siddhas, bhutas, pretas, pisachas and nagas apart from regular people who live in this world. There are good beings and weird beings - good defined by those who have a "soumya" disposition as compare to those who display "ghora" disposition. Interestingly the flavor of regular people is what catches our attention.

We would normally associate Tantriks, Aghoris and Kapalikas with the worship of the Mother and therefore conclude that Kali worship is not meant for the Grihasta. Strangely enough, even the grihastas have a strong inkling towards the mother. Ramakrishna, Ramprasad and Premik are great examples of Kali worshipers who transcended the grihasta role and took to serious Tantrik sadhana. And all of them had a few things in common.

The common aspects in their lives are that they were great Ma Kali bhaktas. They all married and couple of them even had offspring. They lived in the middle of society, a society that accepted the worship of Tantrik Sadhana in the cremation ground as part of regular life with no aversion or bias towards it... even today. Given this environment and the acceptance of sadhana in the middle of the night, all great Tantrik practitioners have made the shamshan ghat a part of their lives. Strange Tantrik rituals have been a part of their sadhana, and these include rituals that are very hard to stomach. While they have been admired for their bhakti and their literary prowess, I wonder how many have accepted them for their way of life.

The sacred residence of the Mother can be unearthed in the sadhana of the bhakta. Few common aspects of their sadhan include the worship of the mother in the darkness of the night, in a secluded place preferably the cremation ground. They have gone through the rituals of accepting the impure and pure as part of their life and have transcended all bias towards aversion. They have been associated with human corpses which not only echoed the symbolism of Sati's mutilated body but also dared them to give up their social inhibitions. They have spent a lot of time meditating seated under a tree on what is called the panchamundi asana. They have worshiped, offered food and prayer and eaten out of human skulls taken and cleaned from the shamshan ghat. They have finally won the Goddess's favor and blessing and entered samadhi with her.

The air in Bengal is thick with energy, the average man on the road accepts this way of life. Ma Kali resides here in this earth. Various accounts of great Tantrik and aghor babas, of great Bengali poets and most of all the great love of Ramakrishna reveals the mother inhabits this earth, she is rooted to the soil where her corpse fell. She roams the night with her army of spirits. She lives in the skulls that dot the cremation ground. The 5 impure skulls are her home and she grants any wish to those who meditate on the sacred ground that covers them. She finally resides in the heart, in the hrudaya kamal that is buried deep within us. Ramakrishna and Kalidasa outshine everyone and are the greatest bhaktas in whose heart Ma Kali resides.

She is the wild Goddess, the one who walks the night and awakens it with her presence. She is the blue hued lotus that blooms by night. She is the wrathful one who kills all evil, she is the terrific one who dances in my heart.

References:

Sacred spaces in the temples of West Bengal [June McDaniel, College of Charleston]

Prabuddha Bharata, a monthly journal of the Ramakrishna Order started by Swami Vivekananda in 1896

Tantric Vision of the Divine Feminine: The Ten Mahavidyas [David R. Kinsley]

Poetry of Ramprasad Sen 1718 - 1775

Tantra in Practice [David gordon White]

Search for the real Guru

I have had many people ask me whether I have a guru, whether I have been initiated, and whether I have had spiritually uplifting experiences. While I can sense their curiosity, it has not been very easy to answer these questions. I understand that we all want to know "the path", we want to learn it fast and we are not ready to be careful about treading this path. There is hunger to want to know, in some people its a lot more intense.

I have been initiated into Shiva worship in the traditional Brahmanical order. While having studied quite a few of the influential paths of Shaivism, namely the cults of Aghories, Tantriks and Virashaivas I have come to understand them as a whole as well as individually. I respect them and their methods though I might not necessarily take to the path myself until that Sadhana is a must for my own salvation with no other alternative. There are disturbing elements in each of these paths when observed in their unadulterated potency and its for our mind to accept the ways of the world or reject it and face repercussions both good or bad.

But Sadhana typically starts with the initiation from a Guru. They say we shouldn't search for him but he will come on his own to us. Well, does the waiting get tough then? That's probably the time we resort to following self proclaimed Gurus in today's world and hope to find peace in their teachings. What's missing in such cases is the personal attention we want in these cases. What we don’t realize is, when we are not "ready" the Guru will never come. Preparation for a Guru is most important to get started. 

The first Guru we come in contact with in our lifetimes are our parents. They set the ball rolling giving us insight into the prescribed path that we would most probably take through our lives and seldom change it. And hence the first initiation has begun. There is no ritual in particular except for the male child maybe. Our search for the next Guru begins when we come to the age of understanding life. We want to dive deeper and understand the science better, of what is possible within our capacity.

The typical route from here is the confused path of ritual worship - a disciplined methodology of dos and don’t with no reasoning to explain why. While on one side the heart encourages this, the mind looks for logical reasoning which might not be immediately apparent. The questions arise and sure enough they don’t have convincing answers. Do we at this point hang on to the path or change or give up and look for the undefined universal God?

In my opinion understanding ritual worship is like learning a language. We don’t understand the nuances of grammar or the idiosyncrasies, yet we hold on to it hoping we will make good masters of it some day. We do not reject language because we didn’t attempt to learn it.

In my personal experience and understanding, at this stage its good to hold on to ritual worship and follow it consistently even if we don’t understand it initially. Its up to us to read up and dig deep to understand what we are doing, rather than doing it mechanically and feel like a parrot reciting mantra. We most often expect someone else to teach us the meaning and do not find a reasonable Guru to explain this vast science; we have little time to do this on our own.

If we do this right, there is a good chance of attaining a spiritual high at this point, reaching a level of sublime experience with the supreme in a small way and getting enchanted by the turn of events in our lives. This is probably the time we are taking to prepare ourselves for the Guru's arrival into our lives. Following the ritual path is a must to go to the next step, but it is effective only when we approach it with Bhakti rather than mechanical action with no comprehension of what we are doing.

The next misconception is that the Guru will show up in human form and speak to us in a language we speak in. Thats where we make the biggest mistake. The first criteria of eligibility towards getting a Guru, is that we in our individual capacity are prepared to be a pupil.

The true pupil has single pointed intense faith in a path with no room for deviation. This path is well understood by him/her and not a result of mass teaching of the community they belong to. At this stage, the pupil is ready to disassociate from the community [herd culture] and walk towards the lonely path of self realization. The pupil understands detachment as a reality, and though they might be in the midst of people, they move towards looking at them with detached compassion rather than possessive love and expectations. This feeling of course is not as overwhelming in the beginning as it is at the end of this path, but the pupil gets to feel the crux of what is expected. The pupil has now decided while living in the middle of this chaos, they don’t quite belong to it anymore and the journey towards understanding the inner self now becomes a breathing reality. The pupil is ready to surrender to the supreme force.

In the silence of their mind, in the void of their being and in complete surrender, the pupil awaits the arrival of the Guru. If luck has it, the Guru will be present in human form at that time. The gyana of the way ahead is mostly transmitted through touch or sight or in silence but never through speech as sound is a lesser path of communication. If the Guru is not physically present, the gyana is arrived at in the mind. It just happens, and the pupil is subconsciously directed by the power of the thoughts they harbor in the mind. This is when the pupil transitions from religion to spiritualism. From here on ritual has no value, it has led the pupil to the doors of the master.

The Guru appears in the subtle world of their mind to direct them and lead them in their path. The path is never easy and surely has no room for personal bias. It can test the pupil through tough times, with unhappy experiences to force the pupil to detach from what is around them or it could be through comfort as well. Either way, the pupil realizes that what is around them in the exterior world doesn’t matter any more - both good and bad. They have now learned to accept all the twists and turns in their lives.

One of the most mysterious forms of experiencing the presence of a Guru in a "non human form" is the sculptural depiction of Adi Shankaracharya at Kedarnath. While to most people it might have looked like a symbolic representation of his Dandam, this form of his hand holding the sacred symbol of the Shankara, is believed to appear in the mind's eye when a pupil worships this Guru. 

In this search for the supreme, when the Guru accepts us as an eligible pupil and the divine education begins, this experience is far more overwhelming than any other we may have experienced before in our lifetimes. It is potent, magical, and mysterious and strictly rule driven and supersedes all the scientific theories we have come across so far. This is a different reality, unexplored and excitable on a different plane. The Guru transforms into a God like being and leads the way, while we - the pupil - pick up the reins of Bhakti and ride on this path to supreme bliss.
 

Vaital Deul - The art of conquering fear

Vaital Deul temple stands silent along the bustling streets of Bhubaneshwar, it is a contrast from the world we are in today and the world that once was. The landscape of the day has completely changed with buildings rising around this quaint ambiance but the image of this quiet locality must have been quite different during the old days. Vaital Deul, sharing its compound with Sisireshwar temple, would have been shrouded among dense forests with a possible pathway leading up to this shrine.

Tantrik cults have ruled this temple for long and their main deity of worship has been Chamunda devi. While the exteriors of this temple are covered with innocent looking kanyas luring the passerby to these temples, what lies inside looks far more fearsome.

In Indian spiritualism, there is no room for feelings of fear or attachment. In fact our scriptures repeatedly advice us to get over these emotions over a period of time. These forms of Devi and Shiva, of Kali, Bhairava and Chamunda bring in feelings of fear when viewed by the ignorant eye, but to the aspirant who loves and views them in bhakti, the emotions reach a state of sublime that supersedes the average emotions that rule us. Its similar to the emotion of indescribable love a mother feels towards her potentially ugly baby as compare to the judgemental view an onlooker takes towards the same child. We have innumerable examples of Shiva and Shakti in Ghora rupa, displaying actions of gore like consumption of blood and mutilating the body of the sacrificed, living in formidable locations like the shamshan ghat and waking up in the night to be worshiped by their devotees. There must have been a meaning to all this.

Vaital Deul is one such potent example of a Shakti sthal converted to a hard core location for strict, deep rooted tantrik practices for the worship of the Mother, in one of her many forms. The temple itself has a silent aura of mysticism with a luring exterior of the most ravishing Kanyas. But when we step inside, the view changes everything. Shiva, the Durgas, Sapta Matrikas, Varaha, Ganesha form the pantheon that welcomes us, but with a difference. They appear far more scary than what we in "civilized society" are used to. It is almost a reflection of the Jewish Sabbat - the dance with Satan. While the imagery is dangerously close involving sexuality and potential blood rituals, the rules and beliefs are completely different.  

Hinduism depicts the vanquishing of evil in this imagery, where killing is incidental, but the method is explicit. These emaciated sculptures of Chamunda and Bhairava dance around with fire bowls, holding decapitated heads and a sickle for more blood coupled with scenes of copulation all in the name of victory. They scream out not just the destruction of evil but the path to higher super bliss through what appears to be bizarre rituals. But why are they bizarre? Its a method, like any other strong school of thought with its own set of beliefs, just more daring in areas sparingly visited.

Pure spiritualism has no room for bias, lack of bhakti, easy nirvana or just the mechanical art of worshiping a wish fulfilling tree to bear fruit. We have strong contradictions, seriously controversial rules that fight the battle of what pure faith really is. Conquest of fear, of attachment, of temptations and of discipline is the bottom line of all the rituals that build up Hindu spiritual art of worship. Be it the worship of Chamunda and Kala Bhairava or be it the worship of Shiva and Parvati, the mind has to be tamed and the methods could be varied to cross this ocean. To some the path is acceptable within the realm of society and to others the path blatantly addresses human nature in its many aspects.

Vaital Deul temple depicts Chamunda in her gory best, with dancing ghosts and goblins hitting the drums of victory around her. In the darkness of this small temple, with hardly any windows to bring in daylight, the appearance of the Goddess in the lamp light can trigger the emotion of fear and echo the thought of death in our heads for longer than we ever felt it. The thought here is not about death as much as it is about the eeriness of the ambiance that calls death upon us. Vaital Deul has been active in history with blood sacrifices more in the order of humans than lambs and other creatures. The aura of this temple can brings shivers to the mind and the only way a person can beat this creeping eeriness is vanquish the very emotion that encourages weakness out of its presence. Vaital Deul is a good example of a temple that creates the aura of gore and fear to make the onlooker realize their emotions and not fall prey to them. Its a classical test towards attaining higher bliss by inducing contemplation to conquer our mortal emotions.

The thought of contemplation now should ideally change from the fear and shock of the unknown to peace and bliss over the surprises the Supreme forces throw on us to make us realize how inadequate we are to proceed on our spiritual journey.

Photo courtesy: Indira Gandhi National Center of the Arts

Related blogs:
Shakti Peetha, Chamundeshwari - Chamundi Hill, Mysore 
A night with Nava Shakti - Chamunda.
Chaunsath Yogini temple

Mysteries of a begging bowl

The ancient Tantriks are great followers of the cult of Bhairava, the form of Bhikshatana Shiva, the naked mendicant who walked from one forest to the other, ash clad and pure. Shiva carries a damaru in one hand and a skull cap shaped begging bowl in the other. The Tantriks are the only people today, who are found using a skull cap for a begging bowl, literally mimicking this picture of the Lord, but delivering it in not as much beauty.

Mythology holds that Lord Shiva once cut off the 5th head of Brahma. Thirumular's Thirumanthiram states that Lord Shiva holds the skull cap of Brahma as a begging bowl in order to save it from hitting the earth and perishing, for Brahma is the creator of the Universe and his head signifies all that lives and transitions to the next life after death. Lord Shiva is also known to wear a garland of skulls that belong to great celestials, as he protects them from falling to dust. Hence the idea of holding the skull cap and wearing a garland of skulls has a very profound meaning and is not as gory as perceived by many.

These are not just stories as they hold a great deal of truth and deeper significance and this brings us to the larger question of why is a skull cap a significant depiction of a begging bowl?

Lets take a few steps back and observe another ancient tradition, that of Buddhism. The idea of ahimsa as well as the idea of bhiksha started during the time of Buddha. There is great significance to the begging bowl in Buddhist tradition. When Sidhartha Gautama Buddha reached the end of his journey to enlightenment, he realized his emaciated state was of no help and that he would need food to gather the energy to go through to the other side. It was at this time that a young girl gave him grain in a golden bowl which he divided into 19 parts, one for each day till the day he reached his moment of enlightenment. One he crossed the threshold to the other side; he discarded the golden bowl into the river - a marked significance of detachment from any kind of materialism. The golden bowl marked the catalyst to Sidhartha's transition from one state to the next.

Ancient faith believes that the last segment to divine Nirvana is when the Kundalini energy reached the highest zone, that which is near the Kabala of the human skull. It is also believed that Jeeva enters the body through the Kabalam and if it exits the same way, one is blessed with superior transition at the time of death, it is the perfect death achieved.

Brahma, the creator symbolized the transition of life and death in the hands of the Lord of destruction. Hence the passage of the afterlife and the highest form of realization is depicted through his kabala which is held as a skull cap, a bowl that depicts the last state before one attains the highest form of spiritual bliss.

Both Buddhism and Hinduism tried to depict this great truth in their own ways. While Buddhist belief took a different turn and depicted this truth in a far less violent way, ancient Tantrik cults and Vajrayana Buddhism depicted the ferocity of Kala Bhairava, the Lord of time in their depictions by emphasizing on the skull cap which symbolizes the Bhramaranda zone of the skull, where the essence of Atman remains shrouded in this area and releases the soul upon death.

Such deep significance of life and transition to super death, such profound truth lies embedded in what we perceive as just a skull cap in the form of a begging bowl.

P.S. It would be interesting to note that the Tibetan Buddhist tradition has also devised a singing bowl which reverberates the sound of OM when one plays it while meditating. Could it possibly signify the highest state of bliss when the mind resonates the primordial sound of OM.

Secrecy within the Sun temple, Konark

Konark, well known as the black Pagoda strangely captures the mind for only its association with being the chariot temple to Lord Surya. With every stone falling apart, with every piece of evidence hitting the dust, the secret mystical world of Konark is fast disappearing. 

Taking a closer look at this gorgeous structure echoes a lot more than the iconography of Surya. Its sheer size makes the experience all the more overwhelming. Konark presents a grand entrance, against the cloudy sky and wet floor, history slowly unfolds. As we rise towards each step of this mysterious world the power of the ancients welcomes us with much song and dance as each kanya dances her way into our world. With drums and musical instruments, they gracefully dance into existence.

The sheer structure of Konark is mammoth, but what’s even more intriguing is the depth of philosophy into its architecture buried in every stone. It not just covers the ancient Surya cult but also has traces of the roots of deep Tantricism as well as Naga cult in its form. Buried in the rocks that build up the platform of the temple are scenes from life in Orissa as it was among the nobles, and the people with royal screens scattered across the walls. Inter-spaced with this world is the stark presence of the netherworld where the Nagas ruled. Naga lords endowed with the 7 hooded serpent are inter-spaced with nobles and maithuna couples all across the platform. These worlds of manushas and the Nagas are occasionally broken by the great Konark wheels that draw the great chariot of Lord Surya.

The presence of the Naga cult draws our attention to this strange world which is otherwise not as obvious on the sculptural panels of other temples around India. Could these snake hooded mystical beings belong to the netherworld of the Nagas or is it representations of Rahu and Ketu of the Navagraha pantheon of stars associated with Surya?

The mystery gets even deeper as we walk onto the main platform of the temple and are faced with explicit poses of maithuna visually describing the Kamasutra. It amazes me that while the maithuna depictions of Konark are yelling, yet the erotic sculptures of Khajuraho seem to grab the delight of the average tourist when they can hardly be found on the walls.

These sculptural panels depict the deep philosophy of Vama Marga embedded in them of the Tantrik origin. They bear their roots in the Panchamakara ritual of the ancient left path. referred to as the 5Ms of this esoteric ritual, maithuna is one of 5 parts to the ritual where all the gross elements of existence and channelized to a higher spiritual existence. These loud echoes of the esoteric cult practices of Orissa, which belonged to the silent mystical worlds of the Tantriks and Nagas have been profusely depicted on the walls of the temple associated with the Sun God, the epitome of brilliance and divine light. In a strange way, this contradiction to approach life, this dualism in the belief systems with every school following its own path lends itself to our minds to realize just how vast this spiritual ocean is and how difficult it would be to cross it.

Truly this is a contradiction in the mind as much as it’s depicted in mammoth canvases of stone.

Ukhimath Temple - A Silent Bride in the Moonlight.

Paulo Coelho had once said, if you want something the whole universe conspires to get it for you. Sure enough! It was pretty much the same story with us.

Tungnath was the highlight of the day and the related ecstasy didn't allow us to descend at the appropriate hour. Winter in the mountains is a little different. The world is awake as long as there is daylight and once the foothills plunge into darkness there is no life, no movement, no activity.

The descent down Tungnath was even tougher in the slippery ice and we paid for it with a precious hour of daylight. Exhausted and a little disappointed that this great moment had come to an end we were in a partial mind to go to Ukhimath. As the car swerved along the rough hillside road with occasional thrills of hanging off the cliff edge into the gaping darkness of the valley below the driver decided to drive up to Ukhimath temple to check if it was still open.

The biting cold, the exhaustion and the drunken bliss of Tungnath, made Ukhimath that much more inaccessible in the night within our minds. And yet, as the eyes strained to keep open, we hazily saw the night lights of Guptkashi on the opposite hill make dots of the letter OM floating in the dense darkness of the surrounding forests. It was two nights away from Poornima, and the moonlight was slowly beginning to awaken the silent beauty of the night among the hills. Dotted lights skirted by, and the road was bumpy as ever with sharp turns as it went winding along the hill side. The landscape looked like the sky had opened itself straight to us merging with the star studded hillsides appearing like a completely enveloping universe as we floated through it, it was magical. We drove up to a halt to see the bright light of Ukhimath shine over its finial.

Ukhimath was a different world. Living, breathing with energy and pulsating within its nest over the hillside. Silence and darkness had descended over its ambiance. This Pradosham day was blessed and I don't know how to explain it. It was not about visiting a temple, it was not about making it on time, it was not about lighting a lamp to the great Lord Mahakala... it was the melting exhaustion, the extended beauty of the ancient world and an even higher bliss when I beheld this quaint temple clothed in color so unique that it appeared like a coy bride in this star studded night. Words cannot explain the excitement, through my confusion of wanting to visit this temple in daylight to observe it closely.

Ukhimath temple courtyard is a place I would like to be in forever. We had barely made it to the temple, as we asked our way around to the courtyard to be faced with colorful glitter of this small temple so coy and shrouded in subtle blended light. 

Ukhimath awakened my fantasies about the past. The style of this courtyard, the presence of wood and stone instead of cement, the walls that just hid the surrounding hills from us, and the dancing maidens on the walls who entertained the heavenly celestial world dotting the faceted walls of the temple, plunged my imagination into its finest state. To amalgamate one self into the real, where imagination takes over the present, the aura of the place envelops me and I forget that I belong to NOW [defined by time and change of this era] is a relishing experience. Ukhimath temple appears like a maiden resplendent in rich garish colors, decked in electric jewelry, diamond studded and glowing, draped in bright colors, subtly teasing in the dimly lit night.

This temple lies coy in the shadows of her courtyard like a graceful maiden waiting to be wedded, revealing bits of her color as we strangers walk around discovering every wall that protects her. Gasping for breath, filling my hungry eyes with this splendor, I bathed myself in her resonant beauty as I made my way into her inner shrine.

How dream like is this moment!

To think that I had previously scanned the landscape as the driver pointed out the roof of Ukhimath temple that teased my eyes with her presence on the opposite hill the previous day, I was standing here and now waiting for the celestial world to welcome me into her world. My heart had been excited to visit and though Tungnath took over my consciousness for the entire day, Ukhimath presented herself in the dim light of the moonlit night, most gracefully.

Am I blessed to be here to witness her presence in full beauty and elegance and bathe myself in her ambience. There is silence, there is warmth and yet, as the chilling winds whistle through her courtyard there is subtle presence of life brimming within her walls, awakening my soul and challenging my emotions that lie dormant with me.

To be continued...