Kulachudamani Tantra - Introduction
Adherents of other Schools [that are not Vamachara]
will have none of them. Thus Lakshmidhara, commentator of the
Anandalahari and follower of the Samayachara school which recognises
only the so-called Shubhagamas, says that the mind is soiled by even the
remembrance of such men; and that the Panchatattva rites in their
literal form are followed only by Shudras of an inferior kind -
Introduction to Kalivilasa, Arthur Avalon
This is the introduction to volume IV of Arthur Avalon's
Tantrik Texts, published by Luzac in 1916 and now out of
copyright.
A part translation (patalas one to six, of seven) may
also be found on this site, which you can find by clicking
here.
As we point out in our preface to that translation, a
reader might be forgiven for thinking that the introduction below refers
to a completely different text. In fact, it doesn't, and we can only add
that the climate in 1916 quite possibly precluded any mention of the
vamachari themes which are part of this Kaula text.
Given that, this introduction is still very useful.
Although most of it is written by associates of Sir John Woodroffe
(Arthur Avalon), he also contributed to translations of the two hymns
which are part of the text and to the footnotes associated with them.
Introduction
This first edition of the hitherto unpublished
Kulachudamani has been prepared with the help of manuscripts (marked ka
and kha) collected by the Varendra Anusandhana Samiti of Rajshahi from
reputed centres of Tantrika worship in Bengal. The text has been
compared in several cases with other manuscripts, access to which was
given by Tantrika Gurus to the travelling Pandit of the Samiti. The work
consists of seven Patalas (chapters).
This Tantra is of a different type from that
published in the last volume.
The Kulachudamani-tantra or "crest-jewel" of the
Kulachara division of Tantrika Sadhakas is included in the list of
revealed works, which according to the Vamakeshvara Tantra, are
considered to be the chief amongst those which deal with the worship of
Shakti. It is accordingly found frequently referred to as an authority
in many compilations though the Kulachudamani itself (II, 8) refers us,
for all technical terms, to the Bhairavi Tantra, which is, however now
known chiefly from quotations made from it.
Like all original works on Tantrika worship, the
Kulachudamani is cast in the form of a dialogue - the Shastra being
revealed by the Devi in Her form as Bhairavi, in answer to questions put
to Her by Shiva in His form as Bhairava. For this reason the book is
included in the class which goes by the name of Nigama as opposed to
Agama, in which the Shastra is revealed by Shiva Himself. The form in
which a Shastra presented whether as the Revelation of Shiva or Shakti
is mere Lila. Since Shiva and Shakti are one and the same and it is
Shiva who reveals, Shiva is the revealer of the Shastra in all cases,
though in some He figures as Shishya and in otehrs as Guru. The
Svachchanda Tantra puts this clearly in the following verse:
Guru shishyapade sthitva svayameva mahesvarah
Prashnottara-padair vakyaistantrang samavatarayat
The Tantra according to this verse, was originally
revealed by Mahesvara (Shiva) who Himself stood for that purpose in the
position of the Guru as well as that of the Shishya. This is also stated
in the last chapter (VII, 79) of the Kulachudamani where the Devi
addressing Her lord says:-
Gurustvam sarvatantranam.
Kulachara has been called a secret doctrine and
practice. The Bhairavi in discoursing of it in the Kulachudamani says at
the outset (I,31) that it had not been told to Vishnu nor to Brahma nor
to Ganapa.
Kaula knowledge, says the text (II, 25) must not be
divulged to atheists, fools, Pashus or to persons of the twice-born
caste. The secret teaching appears to have been transmitted for a long
time "from mouth to mouth" (Vaktrat vaktrantaram) and even when it came
in part to be reduced into writing, sufficient precaution was taken to
conceal it from the uninitiated under technical terms, the import of
which could only be learnt from the Guru. The general features may,
however, be summed up as follows.
Although the word Kula in ordinary parlance means a
family or clan, its technical sense has been defined by the
Tararahasyavrittika to be "Kulam=matri-mana-meyam". The term thus
combines the meaning of the three other words which are further
explained to mean Jiva (Mata), Jnana (Manam) and the manifold universe
or Vishva (Meyam). The gist (Sangkalitartha) therefore is said to be
Shakti. As Shakti is Kula so Shiva (as distinguished from Shakti) is
spoken of as Akula. Kulachara is one of the seven Acharas enumerated by
the Kularnava, one of the leading Tantras of the division of Sadhakas of
this school called Kaulas. According to the last named Tantra it
occupies the highest rank. "The Vaidikachara" it says, "is no doubt
higher than all, but Vaishnavachara is higher than Vaidikachara;
Shaivachara is higher than Vaishnavachara; Dakshinachara is higher than
Shaivachara; Vamachara is higher than Dakshinachara; Siddhantachara is
higher than the last and Kulachara is superior to all."
As Kulachara is thus said to be the highest of the
Acharas, only those Sadhakas are qualified therefor who in this or
another birth have graduated in the preceding Acharas which are regarded
as stepping stones to it. Such a Sadhaka is called Kaulika or Kulina.
Being the final stage of Sadhana this Achara knows no distinction of
race, colour, caste, or sect. But the esoteric character of its doctrine
and practice is such that it was never meant for the ordinary man of the
world. On the contrary, the difficulties of its true practice are said
to be such that according to the doctrine "it is easier to walk on a
drawn sword," than to be a true Kaula. It is expressly stated (I, 42)
that the Adhikari must be a Kulina, that is one who is capable of
realizing that every person, thing and act is a manifestation of the
Mother or Shakti (Striyamancha jagatsarvam). An essential feature of
this Achara is the attainment of the knowledge that the Mother who is
worshipped under different forms as Tripura, Kalika and so forth with
differing rituals is She from whom all creation proceeds and who is all
in all. This is very aptly set forth in the text (I, 24) which says "Oh
All-knowing One, if Thou knowest Me then of what use are the Amnayas
(revealed teachings) and Yajanam (sacrifices: ritual). If Thou knowest
Me not, then of what use are Amnaya and Yajanam."
Yadi mang viddhi sarvajna kva chamnayah kva yajanam,
Na viddhi mang chet sarvajna kva chamnayah kva yajanam.
This teaching has found its way into popular Bengali
songs which say.
"Tell me what will japa, tapa, yoga and yaga do for a man in whom
Kulakundalini awakens and for the man in whom She awakens not."
Supremacy is claimed for Kulachara on the grounds that it is the final
stage of Sadhana in which Knowledge is realised to be superior to
ritual. Kuladharma is accordingly said to weigh more than all Yajnas and
Vratas put together in the scale against it though such rituals are
necessary in the preliminary Acharas which qualify for the last. As
Jnana alone secures liberation the Kularnava Tantra affirms that without
Kuladharma liberation is not possible. With the question whether this
claim is well founded I am not concerned but with the statement of the
historical facts. As being the Achara which is claimed to be at the
entry of liberation it is regarded by Kaulas as supreme and the end for
those which precede it. Other schools take a different view of the Kaula
claims.
Chapter I
The book opens with an enumeration of the
Kula-sundaris or Devis who are said to be innumerable under the names of
Tripura, Kalika, Vagishvari, Sukula, Kula, Matanggini, Purna, Vimala,
Chandanayika, Ekajata, Durga and others. Several doctrines also such as
Vaishnava, Ganapatya and others are mentioned.
The names of a number of Tantras belonging to the
sixty-four are next given. A complete list has been quoted in teh
footnotes (pages 2-3) from the Vamakeshvara-tantra, according to which
each of the eight Bhairavas has a Tantra of his own, all of which are
collectively known as the Bhairavashtakam. Similary the Tantras relating
to the seven Matrikas the Shivadutis are collectively called
Bahurupashtakam. The Yamalas are eight in number. These three classes
give us 24 works, while the rest are those named in the list.
The 64 Tantras given in the Vamakeshvara are as
follows:-
1 Mahamaya
*2 Shambhara
3 Yoginijala-shambhara
4 Tattva-shambhara
5-12 Bhairavashtaka - a) Asitangga
b) Ruru
c) Chanda
d) Krodha
e) Unmatta
f) Kapali
g) Bhishana
h) Sanghara
13-20 Bahurupashtaka - the eight Tantras of the seven Matrikas and
Shivadutis
21-28 Yamalashtaka - a) Brahmayamala
b) Vishnuyamala
c) Rudrayamala
d) Lakshmiyamala
e) Umayamala
f) Skandayamala (Bhaskara substitutes Jayadrathayamala)
g) Ganeshayamala
h) Grahayamala
*29 Mahochchushya
*30 Vatula
*31 Vatullotara
32 Hridbheda
*33 Tantrabheda
34 Guhyatantra
35 Kamika
36 Kalavada
37 Kalasara
38 Kubjikamata
*39 Tantrottara
40 Vinatantra
41 Trodala
42 Trodalottara
43 Panchamrita
44 Rupabheda
45 Bhutoddamara
46 Kulasara
47 Kuloddhisha
*48 Kulachudamani
49 Sarvajnottara
*50 Mahakalimata
51 Mahalakshmimata
52 Siddhayogeshvarimata
53 Kurupikamata
54 Devarupikamata
55 Sarvaviramata
56 Vimalamata
57 (a) Purvamnaya
(b) Pashchimamnaya
(c) Dakshinamnaya
(d) Uttaramnaya
58 Niruttara
59 Vaisheshika
60 Jnanarnava
*61 Virabali
62 Arunesha
63 Mohinisha
64 Vishuddesvara
It has not been found possible to identify with
certainty all items in the list given in this work with that of the
Vamakeshvara and in some respects the list differs. If, however, we take
Mayottara, Kalapaka or Kalapada, Sarvajnatmaka and Vishudeshvara which
occur in the Kulachudamani to refer to items 1, 36, 48 and 64
respectively of the Vamakeshvara list, then the two lists correspond
except as to the 9 items marked with an asterisk. In the place of those
last the present work appears to give the names of the following
Tantras:- Mahasarasvata, Tantrajnana, Vasuki, Mahasammohana,
Mahasukshma, Vahana, Vahanottara, Matribheda, Vishvatmaka Shivavali. If
however we thus count them we get to (sic) Tantras or one too many.
Possibly Mahasukshma may be part of the title of the Vahana Tantra which
succeeds it, in which case it may be eliminated.
The Bhairava then says that He knows all these
Kulasundaris, doctrines and Tantras but has nevertheless not attained
bliss (Ananda). He asks the Bhairavi why this is so?
In reply the Bhairavi first gives some general
philosophical instruction in eleven verses (I, 16-26) to the Bhairava
whom She addresses as the most Supreme Kula the ocean of Tantrika Kula
knowledge (Tantrajnanakularnava) which, since He apparently seeks
instruction, has for the moment been obscured by her Maya. This portion
may be divided into three sections. The first (vv 16-17) refers to that
primordial state when She as Prakriti was hidden in Chidananda (Ahang
Prakritirupa chech chidanandaparayana). In this state there is neither
creation, maintenance or destruction; neither brahma, Hari or Shambhu or
other Devas, neither attachment, suffering nor liberation; neither
piety, Theism or Atheism, Japa, Guru or Shishya.
The second state (vv 17-24) is that in which the Devi
covering Herself with Her own Maya becomes desirous of creation
(Unmukhi) and threefold. Then joyful in the mad delight which comes of
Her union with the supreme Akula She becomes Vikarini; that is the
Vikaras or Tattvas arise in Mulaprakriti.
Mayayachchhadya chatmanang tridha bhutva yadonmukhi
Parakularasonmadamodini cha vikarini
At this second stage Brahma, Hari, Shambhu appear and
with them the Worlds (Loka) and the Elements (Panchabhutani) of which
they are composed. By the differentiation of Shiva and SHakti the Gunas
commence to operate (Shivashakti-prabhedena gunotpattistu jayate).
Brahma and the others are not distinct entities. They are all one and
the same as parts of Her. The creation which is Matratmaka appears and
then disappears in Pralaya.
In the third section (vv 24-26) the Devi teaches the
great lesson that all scripture and ritual are unneeded where She is
known; as they are unneeded where She is not known. For scriptural
teaching is a means to an end: - knowledge of Her. It therefore has no
use where She is known. If on the other hand religious disposition is
wholly wanting these means alone will not evoke it, though they are not
without their uses in educating a latent piety in the disciple. The
Bhairavi then says "I manifest myself as woman (that is in female form
or Shakti) which is my own Self and the very essence of creation
(Narirupang samasthaya shrishtisaram madatmakam) in order to know Thee
Bhairava, the Guru who are united with Me (Bhavayogastham)". She adds
that even when all this is said Her Tattva is not known.
The Devi then speaks of the methods (Upaya) of
attaining liberation which is the essence of all Tantras and is honoured
by all Devatas. These means secure knowledge and awaken Tattvabodha.
They destroy both merit and demerit and (v 29) give both enjoyment and
liberation (Bhogamuktipradayakam). This doctrine is said to have been
kept as a profound secret so that it had not been divulged even to
Vishnu, Brahma nor Ganapa. It should be concealed in the heart
(Gopaniyantu hridaye). "This wonderful secret, my child, should be kept
from Pashus" (v 40. Rahasyam adbhutang vatsa gopavyam pashushangkate).
The Devi speaking of this doctrine thus addresses the Bhairava "Child
(Vatsa) it strikes me with wonder and bewilders even the wise. It is
replete with numerous and bewildering meanings and is the final resting
place of all good disciples (Sachchhishya-paramaspadam). It is Sadachara
according to all doctrines (Sarvavadisadachara) and is at the same time
blamed or reprobated by all doctrines (Sarvavadivigarhita). It can be
learnt only from a good teacher (Sadacharyyaparijnaptam). Follow it with
care."
To begin with, the Devi speaks of the necessity for
the acquisition of Jnanashuddhi, the purification of knowledge, and for
this purpose She refers to the daily observances beginning with the
morning rites. The Sadhaka should rise in themorning, make his Pranama
to the Kula trees (Kulavriksha), and contemplate upon the Kula (Shakti)
from the Muladhara to the Brahmarandhra and meditate on the Guru.
The Kulavrikshas according to the Kameshvara Tantra
are Sleshmataka, Karanja, Nimba, Ashvattha, Kadamba, Vilva, Vata,
Ashoka. The Tararahasyavrittika quoting the above verse from the
Kameshvara Tantra adds that the baove are those usually enumerated but
that a ninth is added by some namely the Chincha. The printed Tantrasara
however gives a list of ten trees, viz, the first seven mentioned
together with Udumbara, Dhatri and Chincha. From which it would appear
that whilst Shleshmataka, Karanja, Vilva, Asvattha, Kadamba, Nimba and
Vata are generally recognised as Kula trees, Udumbara, Dhatri, Chincha
and Ashoka are only exceptionally so. Then follows the mental worship of
the eight Kulanathas, namely Prahladananda, Sanakananda, Kumarananda,
Vashishtananda, Krodhananda, Sukhananda, Jnanananda and Bodhananda.
Their Dhyana is given in two verses. They are those whose eyes betray
the bliss in their hearts which comes from the great Rasa
(Maharasarasollasahridayanandalochanah); whose darkness (Tamas) has been
cut and crushed by embracing Kula; the dispellers of fear who know the
meaning of all the Kula tantras (I, 36-37). The Chapter closes with the
instruction that the Guru fit to initiate a disciple in this system must
be a Kulina and no other. The Kulina is Adhikari of all Vidyas and is
competent to initiate in all Mantras (Dikshaprabhuh sa evatra
sarvamantrasya naparah). The work of those who leave the Kulaguru is
stated to be mere Abhichara.
Chapter II
This chapter begins with the ablution-rites (Snana)
and states the Shastric rules which must be followed. The devotee, after
ablution, is directed to wear two pieces of cloth (II, 12). This is
strictly in accordance with the rules laid down by Yogi Yajnavalkya. A
departure from this rule constitutes, according to Bhrigu, nakedness,
which disqualifies for the performance of religious rites. The devotee
is next directed to worship Shakti with offerings of flowers, incense,
perfumed betel and other desirable articles. Then follows the worship
with Yantra and the contemplation of Oneness with the Mother. The
worship of the Sadhaka's wife (Nijakantam II, 30) is described with the
details of her initiation to be given where She has previously been
uninitiated.
Chapter III
The rites prescribed for the night are disclosed in
this Chapter. If the devotee worships a Parashakti, he should first
initiate her if she happens to be uninitiated. The mantra for such
initiation is referred to in three verses (III, 13-15). The food to be
offered to Shakti during the Purashcharana ceremony is enumerated at
length (III, 22-26). The Shaktis worshipped are to be looked upon as
eight Matrikas, and they should be named accordingly. The hymn to be
recited in their worship is given, which shows that each of them is to
be addressed as one of the aspects of the Mother Herself.
The hymn is called Karnejapa-stotra from the fact
that each verse addressed to each of the Matrikas is whispered into her
ear. In this worship the elder may bow down to the younger, one of
superior caste to one of inferior caste, for the Shaktis selected for
worship are each and all manifestations of the Mother. The following
translation and accompanying notes are by the General Editor.
OM
Obeisance to Thee O Mother! O Devi!
The pure One (1) Who art Brahma (2)
Remove by Thy mercy all obstacles (3) which beset me
And grant me liberation (4)
Our great Lady! (5) Bestower of blessings!
Oh Devi! Who art the Supreme Bliss (6)
Remove by Thy mercy all obstacles which beset me
And grant me liberation
Kaumari! (7) beautiful Playmate of Kumara!
The sovereign Mistress of all Vidyas! (8)
Remove by Thy mercy all obstacles which beset me
And grant me liberation
O Devi! Who borne by the son of Vinata (9)
Art Vishu (10)
Remove by Thy mercy all obstacles which beset me
And grant me liberation
Oh Devi! Bestower of blessings! Who art Varahi (10)
By Whom the earth was lifted on Thy tusks (11)
Remove by Thy mercy all obstacles which beset me
And grant me liberation
Oh Devi! Who art Shakra (12)
Who art worshipped by Shakra and other Suras (13)
Remove by Thy mercy all obstacles which beset me
And grant me liberation
Chamunda! (14) besmeared with blood wearing a garland of severed heads
Destructress of fear!
Remove by Thy mercy all obstacles which beset me
And grant me liberation
Mahalakshmi! Mahamaya! (15)
Destructress of anguish and sorrow!
Remove by Thy mercy all obstacles which beset me
And grant me liberation
Thou art O Devi! the Father and Mother of all (16)
And art to us in the place of Father and Mother (17)
One Thou art yet manifold (18) in the form of the Universe (19)
Obeisance, Oh Devi! to Thee.
With the recitation of this hymn ends the Puja of the
Shaktis; the worship of at least one of whom is enjoined. Other rites
are enumerated in the subsequent chapters.
Notes
1 Anaghe
2 Brahmarupadhare i.e., Shakti of Brahma or Brahmi Shakti.
3 Vighnam; that is obstacles standing in the way of liberation.
4 Siddhi; the greatest of which liberation (Moksha) is. The refrain
runs:- Kripaya hara vighnam me mama siddhing prayachchha me.
5 Maheshi, Shakti of Mahesha or Shiva: Shaiva Shakti.
6 Paramanandarupini: for She is according to Tantra one with the Supreme
Brahman Who is Bliss Itself.
7 Shakti of Kumara.
8 Sarvavidyeshi; the Vidyas are various manifestations of Mahashakti.
9 That is the bird-king Garuda the vehicle of Vishnu.
10 Vishnurupadhare, i.e. Vaishnavi Shakti.
11 Shakti of Varaha the Boar incarnation of Vishnu.
12 The Varaha Avatara which succeeded the Kurmma and raised the earth
from the waters in which it was submerged.
13 Indra, the Devi is here addressed as the Shakti of Indra or Aindri
Shakti.
14 The Devas.
15 One of the Sangharini manifestations of Devi.
16 Mahamohe. As such the Mother is the Destructress of Avidya and
therefore as the verse says destructress of all the anguish and sorrow
which proceed from it.
17 Pitrimatrimaye.
18 Pitrimatrivahishkrite. The earthly father and mother which are mere
Angshashaktis are put aside to revere Her as the real Father and Mother
of all.
19 Eke bahuvidhe.
20 Vishvarupe.
Chapter IV
The devotee should we well versed in Vaishnavachara
that is in Bhaktimarga before he can be permitted to adopt any of the
special rites. He should be Udarachittah (large minded),
Paraninda-sahishnuh (patient of ill said of him) and Upakararatah (one
who does good to others). He is required to recite his Mula-mantra if he
happens to come across a deserted temple, junction of four roads and
such other places which are said to be fit for worship. He is directed
also to bow unnnoticed to Mahakali if he sees certain birds and animals;
Gridhra (vulture), Kshemangkari (Brahmani kite), Jambuki (she-jackal),
Yamadutika (raven), Kurara (osprey), Shyena (hawk, eagle or falcon), a
crow and a black cat. He is further directed to do circumambulation
(Pradakshina) of a corpse and the cremation ground. The Mantras to be
recited on such occasions are noted. Obeisance must also be made when he
sees a black flower, red cloth, a king, a prince, an elephant, a horse,
a chariot, weapons of war, valorous man (Virapurusha), a buffalo, a
Kaulika or an image of Mahishamardini. If he sees a jar of wine, fish or
flesh, or a beautiful woman, or a Devi Bhairavi, he must bow and recite
a special mantra. The Nilatantra gives a fuller list of objects to which
obeisance is to be made in this way. Then comes the ritual prescribed
for the worship of Kali in the cremation ground. The Dhyana is revealed
in seven verses (IV, 39-45). As this Devi fulfils all Siddhis She is
called Dakshinakali.
Chapter V
This Chapter deals with rites which are performed for
the development of powers enabling the devotee to draw towards him any
Deva, lower Spirits or human being he wishes. Vv 7-8 say that if
anything is taken from the subject of the rite which belongs to him or
he or she are ill-treated or deceived in any way the Sadhaka is fallen
(Bhrashta) and dies. Harm also happens to his family from such magic
(Abhichara). The rite consists of the worship of Dakshinakali. The Rishi
of the Mantra is Bhairava and Chhanda is Ushnik. The first Vija is the
supreme Shakti (Purvang vijang parashakti). The Angganyasa is directed
to be performed with the Vija coupled with the six long vowels. In this
rite the Brahmana Sadhaka is directed to substitute for wine (where is
this is mentioned) honey in a vessel of copper (v 78) or he may perform
the Kulapuja with Kula wine.
Chapter VI
This part is concerned with the method of acquiring
powers (Vetalasiddhi) enabling the devotee to go anywhere he pleases. It
consists in the worship of Yoganidra, Katyayani, Purneshi, Chandi,
Kamakhya and Dikkaravasini. The special rite of Sadhana which goes by
the name of Shavasadhana is described in this chapter (vv 19-28). The
object of this Sadhana in this special instance is the acquisition of
the power with which the Chapter deals.
Chapter VII
This, the last chapter describes the worship of
Mahishamardini which, from the large number of stone and metal images
discovered in various places, seems to have been very popular at one
time. The worship of Mahishamardini appears to have undergone gradual
changes. This is indicated by the Mantra as disclosed in the
Kulachudamani. The Mantra has been revealed in the usual Tantrika garb
by the following verse:-
Trailokyavijabhutante sambodhanapadang tatah
Srishtisangharakau varnau vidya mahishamardini
This yields a mantra of nine syllables, namely
Ong Mahishamardini Svaha
But the text (VII, 5) ordains that if the Mantra and
its Sadhana is disclosed at all, it may be disclosed to one who is
extremely obedient to his Guru, but even then not with its Vija. Only
eight syllables should be disclosed, thus reducing the mantra to
Mahishamardini Svaha.
It is said that the Mantra of nine syllables should
not be imparted but should in the Kali age be kept concealed, and that
eight syllables alone should be disclosed with the Mantra, Svaha, but
never with the Mantra Namah.
It would appear from the Sharadatilaka, a compilation
by Lakshmana Deshika of the eleventh century AD that in his day the
Mantra of eight syllables alone was known. The Mantra of ten syllables
is not mentioned even by the Kulachudamani. This may be taken to suggest
that the worship of Mahishamardini is of great antiquity. Originally the
mantra was of eight, nine and ten syllables. But in course of time (at
the date when the Kulachudamani was reduced into writing) the Mantra of
ten syllables had already fallen into disuse, while the Mantra of nine
syllables was discontinued. In the eleventh century AD (at the daye of
the compilation of Sharadatilaka), the Mantra of eight syllables only
was known.
Another important change is noticeable in the Rishi
and Chhanda of this Mantra. The Rishi according to Raghava's Commentary
on the Sharadatilaka, is said to be Shakavatsa; the Chhanda according to
it is Prakriti. The Commentator also notices that in his day according
to some the Rishi was also said to be Markandeya. But the Kulachudamani
(VII, 11) distinctly says that the Rishi is Narada and the Chhanda is
Gayatri. It is noticeable that the Rishi and Chhanda of the Mantra for
the worship of Durga are Narada and Gayatri. May it be that the worship
of Mahishamardini was gradually sought to be cast into the same form as
the worship of Durga? This seems highly probably from another
circumstance that according to the Sharadatilaka-tika of Raghava Bhatta,
the Pithapuja should be performed as ordained for the worship of Durga.
The image of Mahishamardini is however different from
that of Durga. Mahishamardini according to Kulachudamani (VII, 13) has
eight hands holding on the right side Chakra (discus), Khadga
(sacrificial sword), Vana (arrow), Shula (trident), and on the left side
Khadga, Charma (shield), Dhanu (bow) and Tarjani-mudra (vide post).
The Devi is said to be of black colour, wearing yellow cloth, and is
placed on the body of a black buffalo.
This Dhyana does not exactly correspond with the one
which is noted in the Sharadatilaka. According to it, the Devi holds in
Her hands Chakra, Shangkha (conch shell), Kripana (sword), Khetaka
(club), Vana, Karmuka (bow), Shula and Tarjani-mudra. The Devi who is
said to be of the colour of Garuda stone (emerald) and bedecked with the
crescent moon is described as sitting on the head of the buffalo.
In the Hymn incorporated with the text of the
Kulachudamani (VII, 33) the Devi is said to be black of colour,
resembling crushed antimony and is described as holding Chakra, Dara
(Shankha), Kartrika (small sword), Kheta (club), Vana, Dhanu, Trishula
and Abhaya-mudra. So far as this Mudra is concerned, Raghava cites an
authority to show that Tarjani-mudra is the same as the Abhaya-mudra. It
appears from the Tantrasara that the Devi is to be worshipped now in
this form.
The Kulachudamani gives no Shangkha, or Khetaka or
Katrika. It has instead two Khadgas and Charma. The Sharadatilaka
mentions no Charma or double sword. It introduces Shangkha and Khetaka.
The Hymn makes a further departure by changing the Khadga into Katrika.
This is exactly what appears to have been in vogue when the Tantrasara
came to be compiled about 400 years ago. The Hymn therefore appears to
be of a date later than this.
While the images appear to have changed in this way,
the mode of worship has remained pretty fairly the same. The details are
given with a view to help the reader to follow the ritual.
The worship of Mahishamardini is in general performed
in the usual Tantrika way. The text only notices the points of
difference which constitute its special features. The most noticeable of
these is the Angganyasa which usually embraces six Anggas. In the case
of the worship of Mahishamardini the text (VII, 15-17) mentions only
five Anggas. The Sharadatilaka (XI, 25) says that in this worship Nyasa
is made only upon five Anggas, leaving out the Nyasa of the eyes. The
Dhyana is given in verses 12-14. The Yantra is composed of a lotus of
eight petals, in each of which (VII, 18) eight Devis are worshipped,
described generally as Durga and others (Durgadya). Their names are
given in the Sharadatilaka (XI, 29) as Durga, Varavarnini, Arya,
Kanakaprabha, Krittika, Abhayaprada, Kanya and Surupa. They are
worshipped with the long vowels a, i, u, ri, lri, ai, au and ah. Thus:-
Ang Durgayai namah; ing Varavarninyai namah; ung Aryayai namah; ring
Kanakaprabhayai namah; Lring Krittikaryai namah; Aing Abhayapradayai
namah; Aung Kanyayai namah; Ah Surupayai namah. The Sharadatilaka-tika
of Raghava Bhatta says that in selecting the long vowels, ri, lri should
be rejected as neuter vowels. The Tantrasara, however, gives the long
vowels as a, i, u, ri, lri, ai, au, ah. The weapons are also be
worshipped along with the consonants beginning with ya or in other words
the consonants beginning with ya, that is ya, ra, la, va, sha, sha, sa
and ha are selected.
The hymn to Mahishamardini incorporated in the
Kulachudamani is recited by Bhairava. The text of this hymn appears to
have grown defective in course of time. Reference had accordingly to be
made not only to the printed edition but to Ms. copies of the Tantrasara
in which it is quoted. One Ms. dated 1604 Shaka year found in the
district of Mymensing by the travelling Pandit of the Varendra Research
Society, was of great help in restoring the correct reading. The text,
as printed herein may, therefore be taken as fairly accurate. From the
hymn (vv 22-35) it appears that whilst the worship of Vishnu and Shiva
was popular, and their votaries were applauded, the Kulachara was
blamed. A translation of this hymn in English was printed in the volume
entitled "Hymns to the Goddess" by A.&E. Avalon. As was there pointed
out, the text of the Tantrasara used for this translation was in parts
corrupt and unintelligble and in others of doubtful meaning. A further
translation with commentary has therefore been here made by A. Avalon of
the text as it has now been revised; and the opportunity has been
availed of to correct some errors. The following translation and
accompanying notes are by the General Editor.
Mahishamardini (1) Stotra
