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Orissa Review * October - 2004

In the history of religion mother worshipoccupied a prominent place. The antiquity ofmother worship in India dates back toHarappan civilization. The discovery ofseveral terracotta female divinities testifies thisfact. The Aryans also gave priority to theworship of mother goddesses. Later on duringhistorical period Devi worship got wideacclamation due to the patronage of liberalkings. They used to build several temples forworship of the supreme goddesses like Parvatiand Durga. In course of time many Sakta ritualsand festivals have been created for the spreadof Saktism. Later on many religious texts basedon Shakti or Devi were written during medievalperiod. Till today Devi worship continues infull swing during Dassehra Festival held inthe month of October.

Among the several manifestations of thesupreme goddesses, her ten terrifying forms arepopularly called Dasamahavidya. These tenforms are very popular since medieval periodand also in modern age. The Dasamahavidyaare Kali, Tara, Sodasi, Bhubanesvari,Bhairavi, Chhinnamasta, Matangi, Kamala,Dhumavati and Vagalamukhi. Thus mentionedin Chamunda Tantra.

Kali Tara Mahavidya Sodasi BhubanesvariBhairavi Chhinamastacha Matangi Kamalatmika /Dhumavati cha Vagala Mahavidyah Prakirtitah//

1

Among these goddesses Kali is the firstand most important Mahavidya. Literally Kalimeans "Dark-complexioned One". Accordingto Mahabhagavata Purana, Kali as aMahavidya originated from the fury of DeviSati to terrify Lord Siva.

2 According to

Saktisangama Tantra,3 the Mahavidyas are

linked with ten Bhairavas. In this way Kali islinked with 'Mahakala Bhairava'. Kali is alsoknown as Ratri Devi or Kalaratri.

Legend has it, that after her fight withMahisasura, Devi Durga became extremelyangry and took the ferocious darkcomplexioned form, assumed short height andbegan to walk on the ground. This form of Devicame to be known as Kali. With lolling outtongue, she started dancing blindly. The godsand people in extreme fear appealed Siva forhelp. Lord Siva realising the gravity of thesituation lay himself down on the way onwhich the ferocious naked Kali was coming.In her blind fury the Devi could not see himand stepped on his chest. On the very momentSiva's linga became erect and entered Kali'sbody. At that time Kali recognised her husbandLord Siva and pulled out her tongue in shame.This description of Kali engaged in reversecopulation with Lord Siva became verypopular in texts and iconography. Accordingto these texts her Dhyanas have been created.The above mentioned description confirms theiconography of Daksina Kali which is verypopular.

Goddess Kali in Orissan Art : With SpecialReference to Shyamakali at Puri

Santosh Kumar Rath

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Orissa Review * October - 2004

Antiquity of Goddess Kali

Kali is regarded as one of the famousdeities in India. The earliest reference of Kalican be found in the Mundak Upanishad.

4

"Kali karalika manojabhaca sulohitaya casudhumra varna sphulingini visvarupa caDevi lolayamanaiti saptajihva".

The Vedic literature associates Kali withanother ferocious goddess Nirtti as both ofthem are dark complexioned. But during post-Vedic period Nirtti lost her popularity and Kalirose to prominence.

5 According to scholars

Kali is the later form of Vedic goddess Nirtti.The great epic Mahabharata also depicts aboutKali. Goddess Chamunda is referred as Kaliin the famous Durgasaptasati.

6 It is to note that

earlier in Hinduism Kali was not regarded asan important deity, but later on she isconsidered as a form of Durga. In Agni Puranaand Garuda Purana, Kali is described as thefurious aspect of Durga and worshipped forwining wars. It is also described that sheresides in the cremation ground wearing agarland to skulls. Jadabharata worshipped Kalias the tutelary deity of the bandits. The famoustext Silapadhikaranam of South India hasdescribed her as the goddess of deathworshipped by the bandits.

7 The Kinasariya

Stone Inscription of Cacca dated 999 A.D.referred about Kali in her terrific form.

8 In the

Oriya Ramayana written by Balaram Das inthe 15th c. A.D. vivid description about Kalioccurs.

9 In Shyamasaparyavidhi written by

Kasinath in the year 1699 A.D., the firstreference of Kali worship occurred.

1 0

Kali worship is prevalent in whole Indiabut it is very popular in eastern part (mostly inBengal and coastal Orissa), next to the worshipof Durga. She is worshipped both at home inher benevolent aspect and in shrines withtantric rituals. Besides daily worship at shrinesGoddess Kali is specially worshipped on the

day of 'Dipavali'. Her Vija-mantra is krim. Itis to be noted that animal sacrifice is a specialfeature during the worship of Kali. The presentform of Kali worship is mainly based uponthree texts namely Kali Tantra, Tantrasara andShyamarahasya.

Various Forms of Kali

Devi Kali's position was raised to agreater height by seveal Tantra Sastras.According to Tulaja Tantra, Devi's wellknown forms are eight,

11 such as Daksina Kali,

Siddhi Kali, Guhya Kali, Sri Kali, Bhadra Kali,Chamunda Kali, Smasana Kali and Mahakali.The Mahakali Samhita give the names of nineKalis, such as - Daksina Kali, Bhadra Kali,Smasana Kali, Kalakali, Guhya Kali,Kamakali, Dhana Kali, Chandi Kali. The textTantraloka written by Abhinavagupta mentionsabout thirteen forms

12, such as : Kalisri Kali,

Samhara Kali, Sthiti Kali, Rakta Kali, Sukali,Yama Kali, Mrityu Kali, Rudra or Bhadra Kali(concert of Virabhadra), Paramaraka Kali,Martanda Kali, Kalagni Rudra Kali, Mahakali,and Mahabhairavaghorachanda Kali. The nineforms of Kali are described in the Tantrasaraand Agamatatvavilasa

13 of Raghunatha are as

follows : Daksina Kali, Maha Kali, SmasanaKali, Guhya Kali, Bhadrakali, Chamunda Kali,Siddha Kali, Hamsa Kali and Kamakala Kali.

Kali in Orissan Art

Though Kali is regarded as an importantdeity in Sakta pantheon, but her images cameinto existence only from 15th c. A.D. onwardswhen Dasamahavidya worship gainedpopularity. Kali images are less depicted intemple walls in comparision to Mahisamardiniimages. It is noteworthy that after thecompletion of deplastering work of Jagannathtemple at Puri, an image of Kali came tolimelight.

14 She serves as an Avarana-devata.

The image is carved on the western side onthe south-west corner in the upper Angasikhara

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Orissa Review * October - 2004

of the Vimana. The image is partially eroded.Here goddess Kali is seen standing inPratyalidha pose. She has dishevelled hairand wears a garland of skull. She holds asword and an indistinct object (possiblysevered human head) in her right and left handsrespectively. Her image is flanked byattendants. Perhaps this is the earliest Kaliimage as an Avarana devata in Orissan temple.Another image is located in the premises ofDhavalesvara Siva temple near Cuttack. HereDevi is seated in Lalita pose on a lotus underwhich a corpse can be seen. In her principalright hand she holds a rosary and holds a swordby her uplifted back hand. Her right middlearm as well as all the left arms are broken.She wears a Kirita-mukuta and posseses athird eye. In later examples when Kali imagesare standardised, many new things are added.A four-armed Kali image can be noticed in anexterior niche of the Samalai temple atSonepur. Here Kali is depicted in dancing poseon a corpse. She holds a Kartri and a swordby her right hands while she holds a Kapalaby her uplifted back right hand.

15 She has placed

her left hand in the neck of a standing figure,who is Urdhvalinga. She possessesdishevelled hair and wears Patra-kundala.

As a Parsva-devata, the images of Kaliappeared from 10th c.A.D. onwards. Forexample the image of Kali as a Parsva-devataappear on the ruined Bhimesvari temple atPedagadi, dated to late 10th c.A.D. In thecompound of Samalai temple at Sambalpur arare example of eight handed Kali can benoticed. She is seen seated inVajraparyankasana on a lotus pedestal. Herfront right and left hands hold a mace and asmall pot while her other right hands are seenholding a rosary, trident and a sword. Theremaining left hands hold a skull filled withsevered human head, an indistinct object and ashield.

16 She posseses dishevelled hair.

Another image is found at the base of the backRahapaga of the Baliharachandi temple nearPuri. Here Kali holds a serpent. She holds askull and a severed head by her left hands. Shestands in Alidha pose on the body of Lord Sivawho is Urdhvalinga. Images of Kali as Parsva-devata are found in places like Palur in Ganjamdistrict, Bhagavati temple at Sonepur, in theJagamohana of Samalai temple at Sonepur,Bausani temple in Phulbani district,Daksinachandi temple at Kantilo etc.

Goddess Kali as a presiding deity canbe seen in several shrines of Orissa. In thecompound of Kosalesvara temple atBadakanjia in Puri district a two-armed imageof Kali is worshipped as Rudrani. She is seenseated in Lalita pose on a corpse. She holds asword over her head by her right hand whileher left hand holds a severed head.

17 She wears

a garland of skull. On stylistic ground thisimage belongs to 16th/17th c.A.D. Anotherimage is located near the Lankesvari temple atJunagarh, who is known as Bhubanesvari. Sheposseses four hands and is seen dancing on acorpse. She holds a severed head and a swordin her lower right and uplifted hands while herother corresponding hands hold a noose and askull.

18 One rare image of Devi is noticed in a

small temple at Laksminarayanpur in Cuttackdistrict. She posseses four-arms and stands onLord Siva's body. She displays Abhayamudraand Varadamudra by her uplifted right andlower hands, while she holds a sword (nownot in situ) and a severed head by her upliftedleft hand and lower hand respectively.

19 In the

Mangala temple at Kakatpur, Kali is seenstanding in Alidha pose on the prostrate bodyof Siva. Devi's right hands show Varada andAbhaya murdras while her left hands displaysa sword and severed head. She also wears askull garland.

20 The prostrate body of Siva is

depicted with Urdvalinga pose here. The abovedescription confirms the Dhyana of DaksinaKali.

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Orissa Review * October - 2004

Goddess Kali is also depicted in thePattachitras on cloth, interior wall paintingsand in ritual murals. Specially in Ganjamdistrict paintings of Kali can be seen inOsakothi festival. It is interesting to note thatin a painting at Banesvaranasi, Kali stands onthe bank of a river in the mountain landscape.She holds a scimistar and severed heads in herleft hands while she displays Varadamudra inher right hand. Her uplifted right hand shows atrident.

21 She is yellow coloured. Another

interesting painting from the inner wall of theMandapa of Raghunath Jew temple at Cuttackdepicts Hanuman sacrificing Ahi Ravana, theson of Ravana born in Patala, before goddessKali. Here she is depicted with her usualattributes. Besides these other paintings of Kaliare noticed at Dadhivamana temple at Koilonear Salepur (Cuttack district), Paschimesvaratemple at Talcher and in some temples at Puri.

Among the moving deities of Kali madeof metal, mention may be made of an image inthe Narayani temple at Paradipgarh. Anotherexample of this type of image can be noticedin the Sambalpur University Museum. Theseimages are either the above mentioned Parsva-devatas and presiding deities.

Goddess Shyamakali at Puri

Puri, the abode of Lord Jagannath, whichis celebrated as a Vaisnava centre is alsofamous for its Sakta temples. Both inside andoutside the premises of famous Jagannathtemple there are several temples dedicated toSakta divinities such as Vimala, Laksmi,Bhubanesvari, Harachandi, Daksina Kali,Shyamakali, etc. which indicates the popularityof Saktism at Puri. There is a temple dedicatedto goddess Kali at Bali Sahi. Perhaps it is theearliest shrine where Kali (locally known asShyamakali) is the presiding deity. The areawhere the temple is located is named as"Shyamakali Lane" after the name of the

goddess. There is a good approach road to thistemple which connects the major road (locallyknown as "Uansa danda") which runs fromLion's gate to the sea.

From a text known as Kali ArchanaChandrika, it is known that during the reign ofGajapati Kapilendra Dev, Shyamakali wasworshipped under a Vakula tree.

22 With the

gradual march of time a secondary royal palacewas built near that place by the Gajapati kings,of which little remains now. After KapilendraDev, his son Purusottama Dev became king.His Rajaguru Trilochana Dev and his wifeRatnavati were great devotees of Shyamakali.In the year 1599 A.D. Madhusingh, the brotherof Mughal General Mansingh built the templeof Shyamakali.

23 During the Muslim invasion

all the royal ceremonies were observed in thetemple of Shyamakali. Till 1599 A.D., all therituals were performed according to the textDurgotsava Chandrika. But afterwards KaliArchana Chandrika gained importance in therituals of Shyamakali. During the first quarterof 18th c.A.D. the Rajaguru of kingRamachandra Dev- II, Paramalaksmi Rajaguruused to worship Shyamakali with tantric rituals.In the beginning of 19th c.A.D. the famousfreedom fighter Jayi Rajaguru was also a greatdevotee of Shyamakali. Goddess Shyamakaliis the tutelary deity of Gajapati kings. Tilltoday, according to the royal custom, the newking after his coronation, first visits this templeand worship Kali. Now-a-days little remainsof the said palace (earlier known as PurunaNahara/Bali Nahara) are left. But other templeslike Astasambhu and Radhakrishna alongwithShyamakali temple stands testimony to theroyal grandeur of the then age.

The iconography of Shyamakali confirmsthe Dhyana of Daksina Kali prescribed in theSastras. Here Kali stands in Pratyalidha poseon the chest of Lord Siva and posseses fourhands. She is engaged here in reverse

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Orissa Review * October - 2004

cohabitation with Lord Siva. She holds a swordand displays Abhaya-mudra in her upper leftand right hands respectively while her lowerleft hand is holding a severed human head andthe lower right displays Varada-mudra. In thiscontext it is noteworthy that her benevolentaspect is attested by holding of the sword inher left hand. Because the sword in right handsymbolises destruction. She posseses three eyesand is surrounded by jackeles and vulturescarved on the side. The height of the image isaround four feet.

24 From artistic point of view

this image belongs to 15th c.A.D.

There are other two images installed onthe left side of Shyamakali. These images arefour-handed and known as Vimala andSarbamangala. Same ascribe them as Chandika.Like the famous Vimala image of Jagannathtemple, this icon of Vimala is seen standingand holding a noose, a human figure and a vase.Likewise the seated image of Mangala holds afull moon, rosary and lotus. The significantaspect of this image is that she holds a pestlein her upper left hand.

25

Thus it is inferred from the abovediscussion that Kali has occupied a prominentplace in Sakta pantheon. But most of herimages came into existance from 15th centuryonwards. Among the different forms of theDevi, the Daksina Kali aspect is the mostpopular both in texts and iconography. Most ofthe Kali images including Shyamakali imageat Puri confirms the Dhyana of Daksina Kali.Being the tutelary deity of the Gajapati kingsof Puri, Shyamakali ranked one among thefamous goddesses of Puri. From iconographicpoint of view, her image is the only of its kindin entire Orissa.

References :1. Quoted by Puspendra Kumar, Sakti Cult in

Ancient India, p.155, Varanasi, 1974.

2. Das, H.C., Iconography of Sakta Divinities,Vol.I, p.13, Delhi, 1997.

3. Bhattacharya, B, (Ed), Saktisangama Tantra,Vol.III, Oriental Institute, Baroda, 1947.

4. Das, op.cit, p.16.5. Ibid.

6. Bhattacharya, N.N., The History of SaktaReligion, p.136, New Delhi, 1974.

7. Das, op.cit, p.18.

8. Epigraphia Indica, Vol.XII, p.59.

9. Das, op.cit, p.18.10. Chakravarty, Chintaharana, The Tantras :

Studies on their Religion and Literature, p.92,Calcutta, 1963.

11. Das, op cit, p.19.

12. Bhattacharya, op.cit., p.13.

13. Ibid.

14. Orissa Review, p.52, Bhubaneswar, July 1996.15. Donaldson, T.E, Tantra and Sakta Art of

Orissa, Vol.II, p.546, New Delhi, 2002.

16. Donaldson, op.cit, p.543.

17. Donaldson, op.cit, p.539.

18. Ibid.

19. Donaldson, op.cit, p.540.20. Ibid.

21. Donaldson, op. cit, p.545.

22. Rathasharma, Sadasiva, Smarta PradhanyaraKendra Shyamakali O Balinaara, (Oriya),p.16 in the Souvenir Saktapramoda, Puri.

23. Rathsharma, op. cit, p.19.

24. Das, H.C., Sakta Pithas : A Study , p.117,Bhubaneswar, 1999.

25. Bahinipati, Harihara, Maa Shyamakali (Oriya)in Odisara Devadevi , Second Edition, Vol.I,p.168, Cuttack, 1983.

Santosh Kumar Rath lives at "Smruti Sadan", ShyamakaliLane, Bali Sahi, Puri-1.