Chaunsat yogini temple, Bheraghat Jabalpur

Strange temples that beat the canons of popular architecture echo the presence of an esoteric cult of the Mother Goddess in the form of "Chaunsat Yogini" shrines. Though the cult of the Goddess has survived in a more favorable way of ritual worship, few examples bring to life the extreme form of this worship during the 8th to 12th cen A.D.

In the darkness along the gushing course of the Narmada River, atop a hill in the silence of the moonless night a lamp is lit. The fire of the lamp lights up the faces of 64 Yoginis within the walls of a great temple, the temple of the Goddess. Shakti trasforms into power here, she is pure feminine beauty, she is sexuality and she is life. Raw female power is awakened within these walls of a circular roofless temple and as the ritual unfolds, these graceful yoginis begin to dance. These forms of the Goddess are full breasted and voluptuous with slim waists as they move with grace exuding beauty as the Sadaka worships their many forms, imbibing the very element of Shakti into his experience of the Goddess. As the Chausathi Mahamayavi Tantra and the Chandi Purana of the 15th century composed by Sarala Das describe through folk songs of the era, these yoginis constitute the different parts of the body of the Mother Goddess herself.

Chaunsat Yogini temple interior, Bheraghat

As the night deepens, the winds dance with the flames presenting a divine spectacle. Shiva leela, of a more potent kind spreads through the air within the walls of this temple. 64 beautiful yoginis pronounce the woman in all her grace and beauty to Bhairava, the form taken in by the Sadaka. Casting dancing shadows on the rocky temple floor, these 64 yoginis dance around Shiva and take up their place and sit in Lalitasana within the circle of Bhairava (3 in red in top right corner in the picture below).

Seduction gushes forth as these Goddesses come alive, dressed in flowing skirts held together by an ornate girdle worn low on their hips. Shimmering necklaces and garlands cover their chests, as the sounds of their bangles and anklets in sweet notes fill the air. 64 yoginis, charge the air as they dance around Bhairava, their elaborate hairdo pronouncing their lush beauty, their earrings shimmering in the light of the fire that wakes the sleeping night within this temple. Their lotus eyes bring sweetness to their beings, grace to their forms and warmth to their presence. Bhairava, the potent Lord dances with them within his circle, the Chakra of life, it is an experience for the living. This is the world of the tantriks, this is the world of Bhairava Shiva as the fire cuts through the darkness bringing on the experience of the Goddess divine.

Chaunsat Yogini temple, Hirapur

The aspirant goes into deep meditation, invoking the yoginis as he performs his rituals. Bhairava dances on, waking up the essence of Kuala Marga. The attainment of perfection is the path to Siddhi, one that brings perfection and a higher spiritual bliss of a different kind. The conquest of power and the taming of the Goddess's wilderness, the harnessing of her Supreme beauty into energy render the Sadaka powerful. Five elements are offered to the Yoginis, Matsya (fish) first followed by Mamsa (meat), Mudra (parched grain) and Madya (liquor) and finally Maithuna (couples in intercourse). The juices of life are offered to the yoginis at the culmination of this ritual. The depth of Tantrik sadhana is reached and the energies are imbibed by the aspirant as the 64 yoginis look on from within their niches.

The air is still, the lamp light is feeble, as the floor is flooded with the ritualistic syllables of the Goddesses. This magical world descends into darkness. Most yogini temples have the dancing Bhairava fiercely rendering his presence at the center of the courtyard. Here he dances with the 64 damsels through the night. At the temple of Bheraghat, Lord Shiva descends within the temple, seated with his beautiful consort Parvati on the back of Nandi Bull in the central shrine as they make their way into the tantrik rituals of this temple.

Bheraghat is one of 9 temples that dot the Indian landscape. Other Yogini Shrines are at Hirapur, Ranipur Jharial, and Khandriya Mahadeva temple Khajuraho to name the most prominent. There are dilapidated structures that dot the countryside of Orissa, Madhya Pradesh and Tamil Nadu.

These temples redefine a strange cult practice that involved human sacrifices and offerings of blood, or the use of fresh corpses out of war (Dead kings, soldiers and warriors) and ritual practices of a tribal (Adivasi) kind that invoke the power of Kali and Mahakala Bhairava of the ancient Tantrik tradition. These 64 yoginis have also been grouped into 8 supreme Goddesses known as the Astamatrika. Interestingly in these temples even Ganesha has a feminine form - Ganeshani (bottom right in red in picture above).

Ganeshani at Bheraghat

These ritual practices have probably died with time or have moved back into the tribal villages of Orissa. What remain are powerful eerie temples that reflect the fury and tantrik power of Shiva Bhairava and the Mother Goddess.

Related posts:
64 Yoginis dance with Bhairava
Potency of Lord Shiva – Part 2
Ekapada Shiva - The one legged Shiva

Photo Courtesy:
ganapati.club.fr/mp/images

Eklingji town, Shiva temples near Udaipur, Rajasthan

The name Eklingji is not that of a temple as much as it is the name of a place. Eklingji hosts approximately 108 temples scattered around the green hilly Rajasthani countryside near Udaipur. In this untouched terrain, one is faced with low hills, lakes with proliferating wild life, thick ancient walls and narrow alleys leading into small houses surrounding stone temples...its almost dream like.

Rural Rajasthan is a quiet landscape with architecture so quaint and so different that one could live there and just admire it. Its not about forts, palaces and havelis, or the homes of the once rich and famous but about single chambered temples with a simple mandap in front, scattered every where yet sacred in themselves.

While the sun rises and lights up these ancient wonders into current times, while the lamps light up these otherwise silent interiors, they bring with them an aura of spiritualism far more active and prolific than what we probably have today. These once populous temples just remain historical wonders, waking us up only occasionally to their presence.

In this vast sea of stone structures, crowded with sculptural representations of an open society in ancient times, we have the deep under currents of faith ruling these miniature wonders. One of the most interesting temples, with a difference is that of Eklingji temple Kailashpuri founded by Acharya Viswaroopa, a contemporary of Adi Sankaracharya.

This in one word is "anokha" or unique. This temple is dotted with smaller single chambered temples along its walls that surround the larger temple with two floors in the center of this courtyard that gradually climbs the hillside.

Going back into those ancient days, where electricity gave way to fire torches and lamps lit the interiors, and folk songs echoed among these walls, the ambiance appeared almost magical. As we step into this wondrous world of dancing flames in the wind, throwing shadows of sculptures on the walls and almost bringing them alive, the drums beat reverberating through the walls and the bells ring as the flame goes up in arti, we witness a spectacle of divinity that touches our souls. Deep within the garbha griha, are the sparkling eyes of a Shiva linga, comprised of four faces each in a cardinal direction.

Silent cool pillared halls lead into this deep chamber that hosts one of the most spectacular icons of divinity. Covered by a gold triple parasol, we have all of the Gods residing within. The flames flicker on, lighting up the face of Surya to the east, Vishnu to the North, Brahma to the west and Rudra to the south, all carved into a sacred black marble stone. Decorated with precious stones that shine through like the cosmos itself, the lingam is striking, with the eyes of divinity capturing us, our senses, our minds, leaving us helpless and swollen with an emotional high of bhakti in its purest form. As we circle around this icon of divinity on earth, all forms of the Lord locked into the linga peetha, we are met with the most powerful and profound symbol of all. A sacred yantra crowns their heads, powerful and divine that rules the faith of people who visit this enchanting temple. Surrounding this divine form, resting within their niches are Parvati, Ganesha and Karthikeya.

This chamber brings alive a phenomenon, in a symbolic form. The black marble represents the cosmos, the universe itself, created and preserved by the very forms who reside within the linga, each eye glowing and sparkling waking us to that which is beyond. At its crown lies the power of the yantra, that which defines the nature of this power that has created the universe and controls it. The unique element of this yantra is that it is not embedded deep within the idol but out in the open, present for us to see, a very unique feature uncommon in Indian temples.

This linga is a reminder, that Brahma, Vishnu and Surya are a part of a larger whole, the apex of which is the divine form of Lord Shiva, embedded within the yantra, that is sacred and has been preserved through generations for worship. Indeed, with the vastness of the cosmos proliferating with life, there is indeed just one force that controls it all - Eklingji Shiva who protects all and is not just the guardian deity of the Maharanas of Mewar.

Photo courtesy: Indiantemples.com (templenet.com)

Jyotirlinga - Kasi Vishwanath, Varanasi

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Kasi-kshetrancha Kalabairava darsanam|
Prayaga madhavam Trushtva Yega Bilvam Sivarpanam||
Maha-Smsana Nilayam Prasanna Spadiga-prabavam|
Vedhacvam Jyothir Roopamcha Yega Bilvam Sivarpanam||

... Varanasyantu Vishwesam ...

The ancient city of Varanasi understands life in a different way from the rest of the world. The Ganges ever flowing sweeps the banks of this ancient city as she flows by. A city seeped in faith, aware that the only truth is death and reminds itself every time with every spec of ash that merges with the river, the essence of life leaves the body to return another day. This city has seen the soul depart every day with every burning pyre reminding us about the only truth that lies is the realm of Shiva.

While the mind dwells on the limitation of life, and witnesses its freedom along the burning ghats of the Ganges, as the ash merges into water, it presents a very different spectacle on the morning of Shivaratri.

As one rises up in the early hours of the morning, to make a visit to the Kasi Vishwanath temple, there is a strong possibility that you get run over by a clan of nagas visiting the Lord on this auspicious day. A river of ash clad naked men just gushes through the narrow street of Vishwanatha temple, and nothing except the Ganges can stop them. Its a different world, of Gods and saints, of a river of ash clad aspirants coming to life and suddenly disappearing into the darkness for another night of Shivaratri.

And then the path is open to us. To step in the direction of this ancient temple, to breath in the air that surrounds it, to imbibe the peace and tranquility it presents is a very different experience altogether. A series of small temples are located deep within the jungle of temples and mosques within this narrow street. And here within this small compound you find everybody. The heavend descend to earth to present its silent extravaganza.

The various shrines present within this complex are dedicated to Vishnu, Virupakshi Gauri, Avimukta Vinayaka along with a cluster of five Lingas that are enclosed inside another shrine chamber called Nilakanteshwar temple. Apart from them,Shanishchara and Virupaksha also are housed here. Interestingly there is a shrine chamber dedicated to Avimukteshwara Shiva, which has also been speculated to be the main Jyotir Linga at Kasi Vishwanath.

The main story goes that this temple was constructed by a brahmin called Divodas on the request of Nikumbha and Aunikumbha. This pleased the Lord and he granted a boon to all his devotees. Divodas wanted to have a son but he was not blessed with one. This enraged him and he went and destroyed the same temple he had built for the Lord. Nikumbha cursed the land and said it would be devoid of worshippers. When the land grew empty the Lord descended again and took residence here permanently. The Lord stands here as a Swayambhuvalinga. Parvathi offered food here to all her devotees and is known by the name of Annapoorni. The Lord Himself is seen with a bowl here, asking for annam from the seated Goddess.This is also a ShaktiPeetham as the Goddess's left hand fell here when her corpse was cut my Vishnu's Sudarshan chakra.

The Shiva Linga here is placed within a square shaped mettalic (silver/brass) pit. The Linga is of black stone. The Lord is worshipped and bathed with holy Ganges water and flowers are offered. The puja to the Lord for the day is complete when the Arti rises into the air and fills the chamber with song and light. Truly its a journey through life to heaven in a single visit to Kasi.















Photo courtesy: Liveindia.com

Jyothir Lingam Sri Sailam - Mallikarjuna temple

Mahonnadham Mahakasam Mahodharam Mahabujam |
Mahavaktram Mallika arjunam Jyothi-swaroopam Namosthuthe ||

Andhra Pradesh, a state baking in the summer heart breaks into lush green carpeted landscape when the monsoons hit the parched lands. The Sri Sailam range has the Krishna River meandering through the foothills. There are places where the river flows inside the mountain, underground and is therefore called Patala Ganga. Legend has it that if one takes a dip in its sacred waters, they are blessed with amazing mind control and purity of thought. They say that even “manaseek darshan” (darshan through the mind) is also very effective here and bears fruit to one’s wishes.

Mallikarjuna is also known to be a Jyothir Linga sthala apart from hosting a Devi Peetham. It has its own share of mythologies surrounding it, in this case more than one event seem to have taken place in history, well beyond the measures of the western calendar.

Chandragupta ruled over a greater part of India, beyond the Northern banks of the Krishna River. He was a benevolent king who for the greater part of his life stayed away from the court fulfilling his royal duties. He had a very beautiful daughter, princess Chandravati who was very pious by nature. One day the princess when to the southern side of the Krishna River into the Sri Sailam forests to do penance. She was accompanied by a group of faithful herdsmen with cattle. She stayed in these forests for a while, and her main diet was milk from the cows.

One day she observed that her cow was not giving milk when the herdsman milked it. Curious to know the reason why, she ordered the herdsman to follow the cow wherever it went. The herdsman came back with news that the cow was yielding milk over a Manikam Shiva Linga (Linga made of Ruby). The princess went over and witnessed this for herself and was left pondering. That night Lord Shiva appeared in Jyotir Swarup in her dream and asked her to build a temple around this sacred Jyotir Linga. The princess built the temple according to the Lord’s instructions and the luminous Lord took the form of Shiva Mallikarjuna. This temple faces east and has a special shrine for Lord Brahma and Nandikeshwara occupies the central hall.

The Sthala puranam has another story to say. Lord Shiva and Parvati once decided to find suitable brides for their sons, Ganesha and Muruga who argued on who would get wedded first. Lord Shiva put the condition that the one who would go around the world in Pradakshinam would get married first. Lord Muruga took his vahana (vehicle), the peacock and flew away on his mission. Lord Ganesha held his hands together in adoration and walked around his parents 7 times. According to the Shastras, going round one’s parents in circumambulation is equal to going around the world in Bhupradakshinam. Having completed first, Lord Shiva got the daughters of Viswaroopan, Siddhi and Buddhi married to Ganesha.

When Muruga returned, he was enraged and went away to Mount Kravunja to stay alone there and assumed the title of Kumarabrahmachari (Bachelor). When Shiva and Parvati went to pacify him, he decided to move to another peak, but stayed back on request of the Devas. Lord Shiva and Parvati came to stay close at Sri Sailam. It is believed that Lord Shiva visits Muruga on Ammavasai and goes back to Parvati during Poornima.

















Photo courtesy: Copyright © 1998-2001 Live India Internet Services!

Part3 - Through the eyes of Goddess Kamakshi

The goddess who brings out Lord Shiva's more subdued quiet side is Kamakshi Amman, residing within her kumkum-smeared chamber seems to have the supreme power that brings to light the pleasant nature of the Lord.

Kamakshi Amman, with the moon on her crown, silently resides in her chamber, warm, pleasant and ever loving. She appears to be far away but is closest to the Lord at Kailasa. Another form of Parvati herself, Kamakshi Amman is exuberant, taking on various forms, Kali being one of them. In the silent chamber she stays, the Lord is heard in her heartbeat.

Within the walls of a temple
The silent mother stands
Dressed in all her finery
Glowing from within
She blesses the world

The crescent moon glows
On her crown across her brow
Like twinkling stars they shine
The jewelery on her glow
O mother sweet mother of mine

Within the icy abode
Of mount Kailasa she resides
The consort of the Lord
Forever on his side
Watching the world go by

The darkness of the night they kill
The crescent moon shines forth
The snake dances with a jeweled crown
The only light to behold
A loving game of dice

The ganas dance, nandi looks on
Kamakshi Amman rolls the dice of love
Sweetness from her hands it flows
Music to my ears
A coy smile, a giggle here

She brings his wild self down
She embraces him close
Forever they stay knotted in love
The sun and moon descend
Into the ocean of love below