Introduction
The Dasa Mahavidya is a group of ten great goddesses in the Hindu religion, particularly in the tradition of Shaktism. They are often depicted as fierce and dynamic deities, symbolizing both creative and destructive forces in the universe. Each Mahavidya is considered a manifestation of the Supreme Goddess, the Divine Mother Mahadevi or Adi Shakti (the female principle of God), and represents a different aspect of her divine power.
The term “Dasa Mahavidya” originates from the Sanskrit words “das” or “dasa,” which means “ten,” “maha” denoting “great,” and “vidya,” meaning “knowledge” or “wisdom”. So the Dasa Mahavidya are the ten great wisdom goddesses, representing different aspects of the Divine Mother of the universe and her supreme power. The 10 Mahavidyas reside in Manidvipa, the eternal abode of goddess Shakti and they are identified as: Kali, Tara, Shodashi (or Tripura Sundari), Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagalamukhi, Matangi and Kamala.
The worship of the Mahavidyas is a profound and transformative practice within Tantric traditions, emphasizing the integration of both positive and negative aspects of existence on the path to spiritual realization.
Featured Image: Adamina, Silver door in Amber Fort, Rajasthan, CC BY 2.0
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Table of Contents
- Introduction
- The Origin of the Dasa Mahavidya
- The Mahavidya: The Ten Forms of Shakti
- A Deeper Look into the Dasa Mahavidya
- Conclusion & Final Thoughts
The Origin of the Dasa Mahavidya
According to the Mahabhagvata Purana, the Dasa Mahavidya manifested as a result of an argument between Lord Shiva and Sati, the earlier incarnation of Devi Parvati.
King Daksha, Sati’s father, disapproved of his daughter’s affection for Shiva. He became even more enraged when Sati proceeded to marry him. Daksha arranged a grand yagna (sacrificial ritual) to which he invited all gods and goddesses except for his own daughter and son-in-law.
Furious for not getting an invitation from her father, Sati insisted on attending the sacrifice, in spite of Shiva forbidding her from doing so. Her great anger transformed Sati into a terrible presence, with four arms, a dark complexion, disheveled hair, a lolling tongue and a garland of skulls. The half-moon adorned her as a crown and the entire world quivered at the sound of her laughter as Shiva, frightened, attempted to flee. However, Sati multiplied herself into ten different forms, and all ten directions were filled, blocking Shiva’s way. Together, the ten goddesses overcame Shiva’s resistance, allowing Sati to advance and participate in the sacrificial ritual.
According to another legend, Lord Shiva and goddess Parvati had an argument so intense that Shiva got upset and tried to walk out. Unable to calm him down, despite all her efforts, Parvati took the fierce form of Kali which frightened Shiva and as he tried to leave, the goddess manifested into ten different forms, blocking all exits. These ten forms are known as the Dasa Mahavidya.
The Origin of the Mahavidya in Shaktism
Within the goddess-centered tradition of Shaktism, Mahakali is revered as the Primordial force of the universe (Adi Shakti). She is considered identical to Brahman, the ultimate reality, and it is believed that all Mahavidyas emanate from her.
Mahavidya & Vishnu Dashavatara
According to the “Guhyati Guyha Tantra” and the “Todala Tantra” Hindu texts, the Mahavidya are associated with the Vishnu Dashavatara, the ten avatars of Lord Vishnu. However, there are slight differences in the way the Mahavidya are related to the avatars of Vishnu between the two texts. Moreover, the “Guhyati Guyha Tantra” states that the Mahavidyas are the source of Lord Vishnu’s avatars.
The Mahavidya: The Ten Forms of Shakti
The ten Mahavidya or Wisdom Goddesses, symbolize different facets of divinity, providing guidance for those on the path to liberation. For seekers devoted to Bhakti (devotion), approaching these forms involves reverence, love, and a deepening sense of intimacy. On the other hand, seekers emphasizing Jnana (knowledge) may perceive these manifestations as symbolic of distinct stages of inner awakening leading to enlightenment. Collectively, the Mahavidyas serve as guides, inspiring individuals to explore and discover the dormant spiritual essence within themselves.
Mahavidya Worship
The Mahavidyas are venerated through Tantric rituals to gain knowledge, powers and fulfillment of desires. Yantras, mantras and images play integral roles in invoking these goddesses during worship.
Each Mahavidya embodies a distinct facet of the supreme mother goddess Adi Shakti, bestowing different powers upon their devotees. Moreover, each mahavidya has her own specific mantra, yantra and rituals of her worship. The worship and sadhana (spiritual practice aimed at attaining “samadhi”, a state of profound concentration leading to union with ultimate reality) of the Mahavidyas are highly regarded for their potency within Tantric traditions.
Kali (The Fierce Mother)
Goddess Kali is the first and foremost among the Mahavidya. She represents the power of time, change, death and the ultimate reality. Kali is considered as the primordial Mahavidya from whom all other mahavidyas emerged. Her name is derived from the Sanskrit word “kala” meaning “black”, “death” and also “time”. Moreover, “kali” is the feminine form of “kala”, which is an epithet of Lord Shiva, and consequently the consort of Shiva.
Kali is usually depicted with a fierce demeanor. She has three eyes symbolizing the past, present, and future. Out of her open mouth, with fang-like teeth, hangs her blood-drenched tongue. She has a dark black complexion and her hair flows untamed. Clad in tiger skins, she adorns herself with a necklace of skulls and another of rosy red flowers around her neck. Her belt is embellished with skeletal bones and severed arms. She has four arms in which she holds a trident (trishul), a scimitar, a demon’s head and a bowl collecting blood dripping from it.
In Hindu astrology, Kali is associated with the planet Saturn.
Kali as a Form of Parvati
According to legend, Parvati transformed into the goddess Kali in order to annihilate the demon Daruk. However, even after vanquishing him, her anger remained uncontrollable. In an effort to calm her, Lord Shiva took the form of a weeping baby, evoking her maternal instincts. Upon hearing the cries of the baby, she reverted to her original form as Parvati.
According to a slight variation of the legend, as Shiva saw that Kali was out of control, he lied down on her way. As soon as she stepped on him, realizing he was her consort, her tongue came out of her mouth as a sign of embarrassment.
There are many legends associated with Kali. She slayed and drank the blood of Raktabija, a demon who spawned clones of himself with every drop of his blood that hit the ground. She also killed the demons Chanda and Munda, an act that earned her the name Chamunda.
Goddess Kali is the symbol of Mother Nature, benevolent but also destructive. Kali represents the death of the ego and is revered for granting her devotees freedom from the fear of death and liberation from the cycle of rebirth (moksha).
Tara (The Protector)
Goddess Tara is associated with compassion and protection. She is considered a guide and protector on the spiritual path. Tara has a light blue complexion and messy hair, adorned with a crown featuring the crescent moon. She is often depicted in a form similar to that of Kali, but she is calmer than Kali. Tara has three eyes, a serpent gracefully coiled around her neck, wears a garland of heads, and she stands on the body of Shiva. In her four arms she holds a lotus, a scimitar, a demon’s head, and scissors or a drinking bowl.
In Hindu astrology, Tara is associated with the planet Jupiter.
According to some legends it was Tara whose form Kali took in order to revive Shiva when he drank the Kalakuta poison during the Samudra Manthan (the churning of the milky ocean).
In some traditions, Tara manifests in different forms, with White Tara and Green Tara being the most widely recognized. White Tara symbolizes compassion and tranquility, while Green Tara is renowned as a formidable protector and conqueror of obstacles.
The name Tara is derived from the Sanskrit root “tar” meaning protection. Tara is also known as “Samsaratarini” meaning the one who takes across the ocean of illusion (worldly existence). Therefore, it is believed that she protects her devotees on their journey to enlightenment. Tara’s symbolism is often associated with death, in a broader sense. It signifies the demise of the ego, the false concept of self that gives rise to illusion. The scissors in her hand symbolize the cutting of all attachment.
Shodasi or Tripura Sundari (The Beauty of the Three Worlds)
Tripura Sundari or Shodasi (meaning “sixteen”), is the third Mahavidya, representing beauty and love. She is often depicted as a sixteen-year-old goddess, symbolizing the fullness of feminine beauty. Shodasi is associated with the Sri Chakra, a powerful geometric diagram (yantra) used in the worship of the primordial energy of creation. Shodasi is known as the “beauty of the three worlds”. She is alternatively referred to as the “Tantric Parvati” or “Moksha Mukta”.
Shodashi presents herself with a radiant complexion akin to molten gold, adorned with three serene eyes, exuding a tranquil countenance. Cloaked in garments of red and pink, she wears divine ornaments on her limbs, with four hands gracefully holding a goad, lotus, bow, and arrow. Seated regally on a throne, Shodashi embodies grace and divine presence.
In Hindu astrology, Shodasi is associated with the planet Mercury.
Shodashi is believed to help align body, mind and soul together, as signified by the name Tripura, meaning “three worlds” or “three cities”. Shodashi represents the state of awareness that is also known as “Sadashiva-tattva”. This state represents the initial expression of consciousness in a universal manifestation. In this state, the unmanifested Universe becomes manifest as the consciousness of “I am This,” with the “I” signifying the unmanifested Universe. During this stage, the prominence shifts to the “I,” and the subject starts recognizing oneself in relation to the object.
Shodashi represents the pinnacle of aesthetic and spiritual perfection. Her worship aims at attaining spiritual enlightenment by transcending the material and sensual, delving into the profound beauty of inner self. It is the experience of the universe within the unity of consciousness. Tripurasundari is the beauty we perceive in the outside world that resonates profoundly deep within us.
Bhuvaneswari (The Queen of the Universe)
Bhuvaneshwari is the fourth Mahavidya, representing the infinite space and the entire cosmos. Bhuvaneshwari embodies the power of creation. Bhuvaneshvari possesses a radiant, golden complexion and three tranquil eyes, projecting a serene demeanor. Adorned in garments of red and yellow, she embellishes her limbs with ornaments and gracefully exhibits four hands. In two of her hands, she holds a goad and a noose, while her other two hands remain open. Seated majestically on a celestial throne, Bhuvaneshvari exudes divine elegance.
In Hindu astrology, Bhuvaneswari is associated with the Moon.
The name Bhuvaneshvari derives from the Sanskrit words “bhuvana” meaning world, earth, or home depending on context, and “isvari”, meaning goddess or female sovereign. Therefore, Bhuvaneshvari can be translated as the “mistress of the world”. Morevover, this Mahavidya is also referred to as “Mahamaya” (the one with great magical power of illusion or dream), “Sarvarupa” (the one whose form is all) and “Visvarupa” (the one whose form is the universe). Under this light, we can view her as the supreme empress of manifested existence. So she represents all that we experience in life as she is associated with the here and now. Bhuvaneswari helps seekers towards a holistic view of existence, fostering a sense of compassion for the world.
Bhairavi (The Fierce One)
Goddess Bhairavi, whose name means “frightful” or “formidable”, represents the destructive aspect of Shakti. Like goddess Kali, she is associated with the process of dissolution and transformation, symbolizing the ultimate reality beyond form.
Devi Bhairavi boasts a fiery, volcanic red complexion, complemented by three fiercely expressive eyes and unruly, disheveled hair. She is clad in red and blue garments, with a macabre garland of skulls encircling her neck. A belt, embellished with severed hands and bones, graces her waist, while snakes and serpents serve as additional ornaments.
In two of her four arms, Bhairavi holds a book, signifying knowledge and a mala (rosary), symbolizing devotion. The other two hands make the “abhaya” and “varada” mudras, signifying fearlessness and the bestowing of blessings. Bhairavi is often depicted standing on a headless corpse, symbolizing the slain ego. Moreover, Bhairavi is considered the leader of all 64 Yoginis (deities adept in yoga and tantra).
In Hindu astrology, Bhairavi is associated with all nine planets of our solar system.
Although Bhairavi is commonly associated with divine wrath, it is crucial to understand that this perception stems from her fierce maternal protectiveness. Her purpose is to annihilate ignorance that binds us in samsara, and in this aspect, she is referred to as “Sakalasiddhibhairavi”, the bestower of every perfection.
Chinnamasta (The Self-Decapitated Goddess)
Chinnamasta, meaning “she whose head is severed”, is a unique and striking Mahavidya, often depicted as a self-decapitated goddess holding her own severed head. She represents the concept of self-sacrifice and the transcendence of ego.
Devi Chinnamasta exhibits a vivid red complexion, accompanied by a fearsome countenance and disheveled hair. She is usually depicted with three blazing eyes and with two arms, wielding a sword and holding her own severed head. Partially clad, she wears ornaments on her limbs and dons a garland of skulls. Strikingly, she stands atop the intertwined bodies of a copulating couple, signifying control over desire. The couple is Kama, the Hindu god of love and desire, together with his consort, Rati.
In Hindu astrology, Chinnamasta is associated with the shadow planet Rahu.
According to legend, Parvati once accompanied her friends Dakini and Varnini (or Jaya and Vijaya, according to other accounts) for a bath in the Mandakini River. However, her companions started getting hungry and Parvati asked for their patience, promising to provide them with sustenance shortly.
Chinnamasta’s Self-Sacrifice
After a while, her friends once again appealed for food, emphasizing her role as the Mother of the Universe and their immediate need. In response, the goddess chuckled and, using her fingernail, severed her own head. Instantly, blood gushed out in three distinct directions. Her two companions consumed the blood from two directions, while the goddess herself drank from the third direction.
Chinnamasta represents death, temporality and destruction, but also life, immortality and recreation. She is considered both a symbol of sexual self-control and an embodiment of sexual energy. She conveys spiritual self-realization and the awakening of the kundalini energy.
The blood gushing from Chinnamasta’s neck symbolizes the life force (prana) or cosmic energy that brings the universe to life and supports all living beings. The initial flow enters Chinnamasta’s own mouth, signifying her self-sufficiency and independence. The streams directed into the mouths of her attendants symbolize the life force present in every living creature.
Dhumavati (The Widow Goddess)
Dhumavati, meaning the “smoky one”, is the widow goddess, associated with poverty, suffering, and the limitations of material existence.
She is often portrayed as an old, ugly woman, symbolizing life’s harsh realities. Her complexion is dusky, smoky dark brown, with wrinkled skin and a dry mouth. Her disheveled gray hair frames her unsettling bloodshot eyes, and some of her teeth are missing. She evokes a combination of misery, fear, exhaustion, hunger, and thirst. She is adorned either in white garments, typical of a widow’s attire, or dressed in filthy rugs.
Most of the times Dhumavati is shown riding a horseless chariot, with an emblem of a crow as banner, in a cremation ground. On occasion she may be depicted riding a huge crow, which is also her vahana (vehicle). With two trembling hands, one bestows boons or knowledge, while the other clutches a winnowing basket.
In Hindu astrology, Dumavati is associated with the shadow planet Ketu.
According to Hindu tantric scriptures, there is a narrative where Devi Sati, driven by intense hunger, swallowed Lord Shiva. Responding to Lord Shiva’s plea, she subsequently regurgitated him. Following this event, Lord Shiva cursed her to adopt the appearance of a widow.
Dhumavati symbolizes the destructive force of time in every aspect of our life. She serves as a reminder of the transient nature of life and the inevitability of our own mortality. Dhumavati’s worship involves finding spiritual fulfillment beyond the ephemeral aspects of existence.
Bagalamukhi or Bagala (The Paralyzer of Enemies)
Bagalamukhi is a powerful and protective Mahavidya, associated with the power of stambhana (paralysis) and the control of speech. She is often invoked for victory in legal matters and to overcome enemies. The goddess is renowned for incapacitating adversaries.
Bagalamukhi, exhibits a complexion akin to molten gold. She has three radiant eyes, luxuriant black hair, and a benevolent expression. She adorns herself in yellow garments and attire, embellished with yellow ornaments on her limbs. With two hands, she wields a mace or club and firmly clutches the tongue of the demon Madanasura, restraining him. She is depicted either seated on a throne or atop the back of a crane.
In Hindu astrology, Bagalamukhi is associated with the planet Mars.
Bagalamukhi is the divine presence who adeptly halts every movement precisely when required, bringing a profound stillness to the cosmic rhythm. With her formidable power, she silences the mouths and words of malevolent entities, asserting control over their very tongues. In essence, Bagalamukhi embodies the force that intervenes at the perfect moment, quelling disturbances and ensuring a harmonious balance in the cosmic order.
Matangi (The Outcast Goddess)
Goddess Matangi is associated with the power of speech, music, and the arts. She is often depicted as an emerald green-skinned goddess, playing the veena (a musical instrument). Considered a patron of knowledge and creativity, Matangi is closely related to Saraswati, the goddess of wisdom, knowledge, music and art.
In Hindu astrology, Matangi is associated with the Sun.
According to legend, once, Vishnu and Lakshmi, the divine couple, visited Shiva and his second wife, Parvati (a reincarnation of Sati), and treated them to a sumptuous feast of exquisite foods. While indulging in the meal, some food accidentally fell to the ground, giving rise to a stunning maiden who requested the remnants. The four deities graciously offered her the leftover food (ucchishta) so this form of the goddess came to be known as Ucchishta Matangi.
Matangi is often characterized as an outcast and impure. Her association with impurity primarily arises from her connection to marginalized communities, deemed impure in Hindu society. These social groups engage in occupations considered inauspicious and polluted, such as waste collection, meat processing, and working in cremation grounds.
Matangi is recognized as a Tantric manifestation of Saraswati, the goddess revered in mainstream Hinduism for knowledge and the arts, sharing numerous attributes with her. Both goddesses personify music and are often portrayed playing the veena. Additionally, they are described as the Nada (sound or energy) that courses through the Nadi channels in the body, conduits through which the life force flows.
While Saraswati governs conventional learning and speech, representing the orthodox knowledge upheld by the Brahmins, Matangi, in her wild and ecstatic form, embodies the “extraordinary” beyond the confines of mainstream society, particularly inner knowledge. Matangi symbolizes the transformative power of the divine in all aspects of life and finding divinity even in the unconventional.
Kamala or Kamalatmika (The Lotus Goddess)
Kamala (meaning “lotus”) is the tenth and final Mahavidya, representing wealth, prosperity, and abundance. She is often depicted as a radiant goddess seated on a lotus, symbolizing purity and transcendence and flanked by two elephants, showering her with water.
Occasionally referred to as the “Tantric Lakshmi,” Kamala boasts a complexion resembling molten gold. She possesses luxuriant black hair, three serene and bright eyes, and a kind countenance. Adorned in red and pink garments, she is bedecked with various ornaments and lotuses on her limbs. Seated gracefully on a fully bloomed lotus, Kamala employs her four hands to hold two lotuses, while the other two extend blessings to fulfill the wishes (varada mudra) of her devotees and provide protection from fear (abhaya mudra).
In Hindu astrology, Kamala is associated with the planet Venus.
Kamala is the creator of joy and prosperity in the world. She embodies the essence of nature materializing in the natural realm.
A Deeper Look into the Dasa Mahavidya
According to the Yogic perspective, the ultimate spiritual truth asserts the unity of reality (reality is One). This One reality is “Ananta Guna”, meaning it has infinite powers and qualities. This is the Transcedental form of the Divine Mother who is “Anuttara “(meaning “nothing beyond this”) and is the source of all creation. In order to manifest she descends into her Cosmic form and appears in her individual forms. It is through these individual forms of divine that devotees can understand and ultimately reach the Divine Mother in her Transcedental form.
The ten Mahavidyas, or Wisdom Goddesses, embody distinct facets of the Divine Mother, each with the purpose of directing the spiritual aspirant towards liberation. It is important to understand that the ten Mahavidya represent the most accepted and standard manifestations of the Divine Mother. However, the divine is not limited to those manifestations only but to an infinite number of forms.
Then ten Mahavidyas are considered as gateways for our “unmesha”, meaning our evolutionary path to reaching the divine and attaining self-realization. The role of these ten Hindu goddesses is to help us evolve from “Pashu” (man-animal), to “Veera”, (man-hero), and finally become “Divya”, the man-divine.
The Three Principal Mahavidya
Kali Ma (meaning “Mother Kali”) is the primordial Mahavidya and the mother of all other Mahavidyas. Kali is beyond creation, she is consciousness itself. The process of manifestation commences with Kali, symbolizing time, as change necessitates the existence of time. Therefore Kali represents the first manifestation of the self in the universe.
After Kali comes Tara, however, there are Kali elements inside Tara. Similarly, for the next Mahavidya, Shodasi, she incorporates elements of both Kali and Tara. In fact, each subsequent Mahavidya contains elements of all the preceding ones.
Kali, Tara and Shodasi are considered as principal Mahavidyas. They govern the three gunas (triguna), the fundamental qualities that shape the nature of all beings and aspects of the universe.These gunas influence thoughts, actions, and behaviors, determining the overall disposition and character of individuals and the world. The objective is to achieve balance and transcendence, rising above the influence of these gunas for spiritual evolution. The three gunas are: “Sattva”, associated with calmness, harmony, and goodness; “Rajas”, representing activity, movement, and passion; and “Tamas”, signifying inertia, laziness, and ignorance.
Kali is “Tamas”, her color is black and she represents destruction and annihilation. Tara is “Sattva”, her color is white and she represents enlightenment. Therefore Tara is the wisdom aspect of Kali. Shodasi is “Rajas”, her color is red and she represents the sustaining energy. These three forms of the Divine Mother represent the complete cycle of creation, where black leads to white, white to red and then back to black.
The Role of the Other Mahavidya
All other Mahavidyas, include aspects of these three and influence the chakras, the energy centers within the body that are associated with spiritual and physical well-being. There are seven main chakras aligned along the spine, each corresponding to specific aspects of consciousness and bodily functions. The flow of energy through these chakras is believed to impact one’s health, emotions, and spiritual development.
In essence, the Mahavidyas represent different paths and gateways to moksha (liberation from the cycle of death and rebirth) and enlightenment. In venerating them, Hindus find a reflection of the divine feminine that guides them on the path of spiritual fulfillment.
Conclusion & Final Thoughts
The Dasa Mahavidya (also known as Dasha Mahavidyas or Dus Mahavidyas), represent the ten different manifestations of the Goddess Mother. Each Mahavidya represents a unique aspect of the goddess, from the fierce form of the goddess Kali to the serene prosperity of Kamala. The worship of the Ten Mahavidyas, offers a profound spiritual journey, guiding seekers through the diverse facets of the divine feminine. The Mahavidyas, with their symbolism and significance, provide a holistic framework for spiritual growth, self-realization, and transcendence. In the esoteric realm of Tantra, the worship of these wisdom goddesses continues to inspire seekers on the path towards enlightenment and the realization of the oneness of all things.
In essence, the Das Mahavidya are the ten different facets of the divine feminine, representing the ever-changing and dynamic aspects of the Mother goddess or Adi Shakti. The worship of the Mother Goddess in the form of the Mahavidyas offers profound insights into the cyclical nature of life, death, and rebirth. In embracing the Mahavidyas as cosmic powers of the Mother goddess, practitioners embark on a transformative journey that transcends the limitations of the material world and opens the doors to the vast realms of the divine.
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