Chinnamasta Sarvaswam
Chinnamasta Sarvaswam
Chinnamasta Sarvaswam
Introduction
By Sri la sri Amritananda natha Saraswati
A flash, thunder, rain, rivers, green fields, flowers, fruits. The seed of God thrives on the fertility of
Mother Earth and life springs in the eternal bosom of Prakriti for the vision of God. The flash separates
the head from the body and three streams of blood sprout forth. The central stream is drunk by the
head of the Goddess held in Her hand, the remaining two streams are drunk by her aides.
The Goddess is standing on Rati and Manmatha in maithuna. Stark naked, Her nudity does not strike the
eye as She is robed in dazzling light. She has no head: a headless trunk with two arms held aloft. Form
the headless neck three streams of blood gush forth. The middle stream is drunk by Her mouth in the
severed head held in Her hand while the other two streams are drunk by two attendants standing on
either side. This is Prachanda Chandika or Chinnamasta. She is an invitation for lightning, thunderbolt to
strike the body from head to foot. She gives kapâla moksha, yet She is living after death.
Prakâsha (Light) and NAda (Sound) are the precursors of creation. When Prakâsha is delimited as
Âkâsha, it is Buhvaneshwari. When the delimitation takes the form of duration, Time, it is KAli. When
Prakâsha gets involved in creation and at the same time transcends it, it is Sundari. The unexpressed,
unmanifest Sound in concentrated consciousness is Bhairavi, while the Sound preceiving itself is TAra.
The interaction of Prakâsha and NAda to precipitate creation is Chinnamastha.
The interaction produces such force and violence that the creation is almost cut asunder from the
creator. The whole purpose of creation is for the One to delight in separate existences as Many. This is
why Chinnamasta is represented as cutting off the head (source).
In the world of phenomena, the interaction of Light and Sound results in thunder and lightning.
Chinnamasta is the thunder destroying all the anti-divine forces. She is the hidden radiance in the heart
of the cloud. Ruling over the cosmic mind, She acts through the human mind as the sense behind the
senses. The most powerful activity of the senses is sex. The great Goddess is depicted as trampling with
Her feet Rati and Manmatha joined in amorous union. Worship of Chinnamasta grants complete
mastery over the sex-impulse.
Chinnmasta is the indomitable force, the striking power of the Supreme. What is the difference between
Her action and the action of KAli. When KAli is fierce and terrible, She is Chandi. Chinnamasta is more
terrible than the terrible KAli, hence the name Prachanda Chandika. KAli works with the aid of KAla
(Time). Chinnamasta destroys instantaneously. KAli is the prâna shakti (vital force) while Chinnamasta is
vidyut shakti (electric force). She has Her seat between the eyebrows (ajna chakra) and commands the
power of will and vision.
Chinnamasta is the power of lightning (Vajra Vairochani), and spreads Herself along myriads of channels
enveloping the whole cosmos. When a being is created, this energy enters into the being through the
Bramharandhra. Bramharandhram is the only apperture that connects the flow of energy in the body
with that of the cosmos. The energy then spreads throughout the psychic body by means of nâdis¹. Of all
the nâdis, the three important ones are Ida, Pingala, and Sushumna. Sushumna is the central nâdi that
terminates in the Bramharandhram.
Chinnamasta is in the concentrated form at the ajna chakra. However, Her activity is in the Sushumna
where She traverses up and down as the sustaining current of electric energy and power. The flow is
restricted by the granthis. The knots have to be cut by the scissors which She holds in Her hand.
Prachanda Chandika is the current through the Sushumna, while the charming Varini and the terrific
DAkini are the currents through the Ida and Pingala.
Chinnamasta manifested as the mother of parashurâma, the sixth avatâr of Vishnu. The story goes that
at the behest of his irate father Jamadagni who was displeased with the misdemeanour of his wife
Renuka, Parashurâma cut the head of his mother with an axe. Then by the virtue of a boon from his
father who was pleased with his unquestioning obedience, Parashrâma got his mother alive.
The mantrâ of the Goddess is the seed-sound Hum, also known as the Dhenu beeja. The mantrâ gives
mastery over the senses and annhilates the mind completely. One effective way of sâdhana is to imagine
a constant downpour of lightning from the high skies and submit the whole body, mind, and self to it in
absolute dedication and surrender
Her left foot forward in battle, she holds her severed head and a knife. Naked, she drinks voluptuously
the stream of the blood nectar flowing from her beheaded body. The jewel on her forehead is tied with
a serpent. She has three eyes. Her breasts are adorned with lotuses. Inclined towards lust, she sits erect
above the god of love, who shows signs of lustfulness. She looks like the red China rose. - Chinnamasta
Tantra, quoted in Alain Danielou's Hindu Polytheism.
This devi is the Hindu tantrik equivalent to Vajra Vairochani. She is one of the Ten Mahavidyas -- great
female goddesses in the Bengali tantrik tradition. The others are Kali, Tara, Bhuvaneshvari, Bhairavi,
Dhumavati, Bagala Siddhavidya, Matangi and Kamala, although these lists occasionally vary. Images
show that her own severed head, which she holds in her hand, is drinking one stream of blood spurting
from the arteries in her neck, while at her side are two naked Shaktis, each of whom drinks another
stream of blood. In the bindu of her yantra, pictured at the top left, is the bija mantra Hum, while
outside the second triangle are the mantras Hum Phat.
Her six mantras used in Her six-way nyasa are 1) Shrim Aim Klim Sauh Shrim Hrim Klim Aim Haum 2) Om
Krim Strim Krom 3) Im Hum Phat 4) Shrim Klim Hum Aim Vajravairochaniye Hum Hum Phat Svaha. 5)
Shrim Hrim Hum Aim Vajra Vairochaniye Shrim Hrim Aim Phat Svaha and 6) Shrim Aim Klim Sauhm
Shrim Hrim Klim Aim Haum Om Shrim Klim Hum Aim Vajra Vairochaniye Hum Hum Phat Svaha.
Yantra puja is from the circumference to the centre. The weapons are on the outside of the yantra and
are vajra, dart, stick, cleaver, noose. goad, elephant hook, trident, lotus and chakra. In the bhupura are
the Lokapalas, the guardians of the directions and sub-directions.
At the tip of the petals, starting from the east, are the Bhairavas Karala, Vikarala, Atikarala, Mahakala.
In the eight petals, starting from the east, are her attendants Ekalinga, Yogini, Dakini, Bhairavi,
Mahabhairavi, Indrakshi, Asita, Asitanga and Sanharini. Weapon shaktis are in the two central triangles:
Khadga, Sukhadga, Vajra, Pasha, Ankusha, Astra.
Sri chhinnamasta yantra
Chinnamastā
(Readers’ discretion is advised for this article).
By V Ravi ;Manblunder
Chinnamasta is the fifth of ten Mahāvidyā-s. Chinna means cutoff or chopped off. In this form, Devi is
holding her chopped head in her left hand. This form is slightly disturbing to look at, from the point of
view of appearance and description. She is depicted in nude and drinking blood gushing out from her
body, after chopping off her head. Though she is nude, nobody is able to see her like this, as her body is
several times radiating than sun, as she is described to be seated in the disc of the sun (disc of the sun is
described as Aten, often referred as Egyptian deity). Out of her chopped head, blood flows from her
trunk through iḍa, piṅgala and suṣumna. The flow of blood from suṣumna is drunk by her and blood flow
from iḍa and piṅgala are drunk by her two attendants, Ḍākinī and Varṇinī appearing in her posture. She
is known as Chinnamuṇḍa in Buddhism. She is often described in standing posture with one foot forward
on the intertwined bodies of Manmatha and his wife Rati. Understanding Her depends upon how one
can interpret Her form. She is known as Vajrayoginī in Buddhism.
There are mythological stories about Her form. According to the first story, Pārvatī, Shiva’s Consort went
to take bath in a river along with her two attendants and got engrossed in concupiscent thoughts about
Shiva for a very long time. Her attendants (also known as Jayā and Vijayā) asked her food, as they were
hungry. In spite of their repeated attempts, she did not come out of her thoughts. When they could no
longer withstand their hunger, they finally told her that she has to give them food as it is her
responsibility to take care of them. Suddenly Pārvatī realized her mistake and using her finger nails, she
chopped off her head. The chopped head fell on her left palm and thereafter three blood streams began
to gush out from her throat (from where her head was chopped off) and one stream fell into the mouth
of Jayā (also known as Ḍākinī) and the other on the mouth of Vijayā (also known as Varṇinī). These two
streams are referred as iḍa and piṅgala nāḍi-s. Central stream fell into her own mouth and this stream is
referred as suṣumna nāḍi.
There are few things that can be interpreted from this story. Merely praying to her is not enough. Only
surrendering to her alone makes her to shower her grace. The two attendants asked her for food
repeatedly and she did not even listen to them. When they thought that they have no other way except
to surrender to her, she did listen to their cries and gave her own blood to them. The concept of
surrender is implied here. Lalitā Sahasranāma (546) worships her as Bandha-mocanī (She liberates from
bondage. Bondage is caused by ignorance or avidyā. Bondage means a soul remaining afflicted by
desires and attachments. She removes such bondage for those who surrender to Her, beginning of the
process of liberation.) Saundaryalaharī, verse 27 explains how to surrender “Let my speech be your japa,
my movement of hands be your mudras, my locomotion be circumambulation for you, my eating and
drinking be fire oblations for you, my lying down be prostrations for you, all my enjoyments be my
surrender to You and let these actions of mine become the main part of Your worship.”
Secondly, it also implies that at the time of kuṇḍalinī ascension, all the three nāḍi-s have to be active
though in different proportions. Kuṇḍalinī surges through suṣumna nāḍi, though prāṇa supports the
ascension of kuṇḍalinī through suṣumna, by remaining active in both iḍa and piṅgala nāḍi-s.
Thirdly, by describing her as the one immersed in amatory thoughts, it is said that conjugal relationship
is part of worshipping her. It sets aside illogical teaching that conjugal relationship should not be
entertained while worshipping her. Worshipping her does not mean that one should follow celibacy. In
fact, it has been explained in many Scriptures that kuṇḍalinī can be awakened during conjugation. It
must always be remembered that spiritual world does not exist outside the material world. It is like
mind existing within the body. At the same time, Scriptures also prescribe certain restrictions and
prohibitions on overdoing any act. In the case of Manmatha and his wife Rati, by standing on their
uncovered bodies, she teaches them a lesson by crushing them under her feet. (Bhagavadgītā IV. 7 to 9
says” Whenever virtues (dharma) decline and immorality (adharma) looms, I embody as an avatar. To
sustain the pious, to eliminate the sinners and to protect dharma I incarnate in every yug. Arjuna! My
avatar and actions are divine. The one who understands this principle is not born again and reaches me
when he dies.”
There is another mythological story which goes like this, but does not differ from the first one much.
Here it is said that during conjugation of Śiva and Śakti (here her form is described as Caṇḍikā), her two
attendants, Jayā (also known as Ḍākinī) and Vijayā (also known as Varṇinī) were born out of procreative
fluid of Shiva. The story further talks about the origin of Krodha Bhairava, etc. The one important
difference between the previous story and this one is that in the first one, Shiva is said to be very
powerful and in the second one, Caṇḍikā is said to be powerful in terms of their positioning of their
respective bodies. This goes to prove, that both Śiva and Śakti are equally powerful and sometime, Śiva
is powerful and sometimes Śakti is powerful depending upon the prevailing circumstances.
There are contradictory opinions whether she is eligible to find a place in ten Mahāvidyā-s. Even today
there are different opinions about her and some even call her as durdevata (evil deity) or lower class of
deity due to her headless form, amorous thoughts and nudity. Some are of the opinion that she should
be worshiped only through vāmācāra or left hand practice. But for a realized person, these shapes and
forms do not matter. What matters to a practitioner is only his consciousness. He needs to purify his
consciousness using his breath and mind and once consciousness is purified, it goes out of the body
which leads to his universal realization. Her form also describes this subtle conveyance. Mind and
individual consciousness is restricted only to the body. When mind is cleansed and consciousness goes
out of the body through brahmarandhra at sahasrāra, all his or her dualistic mind set is destroyed and
finally realizes the omnipresent Śiva. Drinking of blood by her also signifies absorption unto her. Some
also describe her as goddess of annihilation or mahāpralaya. Lalitā Sahasranāma 571 says Mahā-pralaya-
sakṣiṇī. Saundarya Laharī (verse 26) describes this event. “Brahma, Viṣṇu, Yama, Kubera, Indra all get
annihilated. But your consort Śiva plays around with you.”
The ultimate aim of this iconic representation of this goddess reveals that nothing is right and nothing is
wrong, as Brahman encompasses both good and bad. Obviously we cannot say good Brahman and bad
Brahman. Brahman is eternal and omnipresent, irrespective of the shapes and forms we worship. Her
uncovered form clearly says that one has to transcend the attraction of physical bodies and has to go
beyond one’s body to realize the omnipresence of Shiva.
{Further reading: What is out of body consciousness? According to Dr. Frederic Aardema, “There is
certain coherency to the idea that the further your consciousness move away from physical existence,
the less involved your brain will be, ultimately resembling death. At the same time, most strikingly, your
sense of being never appears to come to an end. You may lose many mental and perpetual faculties we
so often associate with consciousness, yet you continue to exist.}
HER MANTRAS:
(In these three mantras prefixed bījākṣara-s are placed in different positions)
om śrīṁ hrīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
3. ॐ श्रीं ह्रीं ह्रीं क्लीं ऐं वज्र वै रोचनीये ह्रीं ह्रीं फट् स्वाहा॥
om śrīṁ hrīṁ hrīṁ klīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
(In these four mantras prefixed bījākṣara-s are placed in different positions)
om śrīṁ klīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
2. ॐ क्लीं श्रीं ह्रीं ऐं वज्र वै रोचनीये ह्रीं ह्रीं फट् स्वाहा॥
om klīṁ śrīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
3. ॐ ह्रीं श्रीं क्लीं ह्रीं ऐं वज्र वै रोचनीये ह्रीं ह्रीं फट् स्वाहा॥
om hrīṁ śrīṁ klīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
om aiṁ śrīṁ klīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
It can be found from the above mantras only the following bījākṣara-s are repeatedly transposed.
1. श्रीं śrīṁ -- This is known as Lakṣmī bīja and mostly placed along with ह्रीं (hrīṁ). Apart from causing
auspiciousness, this bīja produces enough solar energy within the body and makes the mind calm and
tranquil. If this bīja is added to Pañcadaśī mantra at the end, we get Laghu Ṣodaśī mantra. This bīja
works along with sauḥ (सौः) in offering Liberation. Again श्रीं (śrīṁ) consists of three letters śa, ra and ī
and nāda and bindu. Śa refers to Goddess of wealth Lakṣmī and ra is wealth itself, Ī refers to satisfaction,
nāda is apara (having nothing beyond or after, having no rival or superior) and bindu dispels sorrow. This
clearly explains that Mahāṣoḍaśī Mantra not only gives Liberation, but also gives material prosperity,
peace of mind and satisfaction in life.
2. ह्रीं hrīṁ -- This is known as māyā bīja. ह्रीं (hrīṁ) and श्रीं (śrīṁ) are often placed together. Ha
meansŚiva, ra means Prakṛti, Ī means mahāmāya (She is Prakāśa-vimarśa- mahāmāya- svarūpinī). Nāda
is Divine Mother (mother of universe) and bindu is the dispeller of sorrow. (Interpretations always vary
according to bīja-s. For example, it is said in śrīṁ that ra is wealth, whereas here it is explained that ra
isPrakṛti. It all depends upon context and conjunction.) It is also said that hrīṁ produces solar energy
within the body. This bīja causes Bliss (There are six ह्रीं (hrīṁ) in Mahāṣoḍaśī Mantra). Śiva speaks a lot
about usage of ह्रीं (hrīṁ) in Mahānirvāṇa Tantra, particularly in kali yuga.
3. ऐं aiṁ -- This is known as Sarasvatī bīja. ai (ऐ) refers to Sarasvatī and bindu as usual is the dispeller of
sorrow and miseries. It is sometimes called Guru bīja, which implies that this bīja endows knowledge.
This bīja establishes a strong connection between the deity and mantra, as this bīja works on buddhi
(intellect).
4. क्लीं klīṁ -- This is known as kāma bīja. It is the bīja for attraction. This bīja in fact promotes the
potency of other bīja-s and the mantra as a whole. It works on heart chakra and kindles love for fellow
beings. This helps us to achieve our material desires, when placed with other bīja-s. Ka refers to
Manmatha, also known as Kāmadeva. There are references that ka also refers to Lord Kṛṣṇa; la refers to
Indra, the chief gods and goddesses, Ī refers to contentment and satisfaction and the bindu here gives
both happiness and sorrow. This is the effect of materialistic desires, which consists of both happiness
and sorrow. This bīja acts in a strange way. It induces desires and at the same time if one is not satisfied
with what is given, it also causes miseries.
All these mantras have in common “vajra vairocanīye”. Vajra means thunderbolt, which refers to a
weaponry of Indra, which was made out of spine of Sage Dadhīca (also known as Dadhīci). Vajra also
refers to the lightning evolved from the centrifugal energy of the circular thunderbolt of Indra when
launched at a foe. Vairocana means the disc belonging to the sun, the central point of the sun where She
is supposed to reside. It is conveyed through “vairocanīye” that one gets Self-realized by perceptive
illumination when one’s kuṇḍalinī is activated either through love for the Divine or through kuṇḍalinī
meditation, to hasten the process of illumination. Vairocana also means world of Buddhists. Upaniṣad-s
also describe Brahman in the form of lightning. This is because, Brahman reveals Himself only in the
form lightning which lasts only for a few seconds.
Chinnamasta
Source Wikipedia
Iconography
The iconography of Chhinnamasta is described in the Trishakti Tantra (pre-16th century), the Tantrasara
(Prachandachandika section),the Shakta Pramoda (Chinnamastatantra section),and the Mantra-
mahodadhih
Chhinnamasta is described as being as red as the hibiscus flower or as bright as a million suns. She is
usually depicted as red or orange in complexion and sometimes as black. She is depicted mostly nude;
however, she is so posed that her genitals are generally hidden or a multi-hooded cobra or jewellery
around the waist covers them. She is depicted as being young and slim. She is described as a sixteen-
year-old girl with full breasts, adorned with lotuses or having a single blue lotus near her heart.
Sometimes, she is partially or fully clothed.
The goddess carries her own severed head – sometimes on a platter or in a skull-bowl – in her left hand.
Though no legend mentions a specific weapon for the beheading, she holds a scimitar, a knife or a
scissor-like object in her right hand. Though generally depicted with two arms, manifestations of the
goddess with four arms also exist. While her own severed head and the sword appear in two of her
hands, the implements in the remaining arms vary: a scissor-like object, a skull-bowl collecting the
dripping blood from her head or blood stream from her neck, or a severed head, sometimes identified
as that of the god Brahma.
Chhinnamasta may have a lolling tongue. Her hair is loose and dishevelled and sometimes decorated
with flowers. Alternately, in some images, her hair is tied. Additionally, she is described as having a third
eye on her forehead and a jewel on her forehead, which is tied to a snake or a crown on the severed
head. The crescent moon may also adorn her head. Chhinnamasta is depicted wearing a serpent as the
sacred thread and a mundamala (garland of skulls or severed heads and bones), along with other various
gold or pearl ornaments around her neck. Bangles and waist-belt ornaments may be also depicted. She
may also wear a snake around her neck and serpentine earrings. Three streams of blood spring from her
neck, one entering her own mouth, while the others are drunk by her female yogini companions, who
flank her.
Both of the attendants – Dakini to her left and Varnini to her right – are depicted nude, with matted or
dishevelled hair, three-eyed, full-breasted, wearing the serpentine sacred thread and the mundamala,
and carrying the skull-bowl in the left hand and the knife in the right. Sometimes, the attendants also
hold severed heads (not their own). While Dakini is fair, Varnini is red-complexioned. In other
depictions, both are depicted blue-grey. Sometimes, her attendants are depicted as skeletons and
drinking the dripping blood from Chhinnamasta's severed head, rather than her neck.The attendants are
absent in some depictions.
With her right leg held straight and her left leg bent a little (the pratyalidha stance), Chhinnamasta
stands in a fighting posture on the love-deity couple of Kamadeva (Kama) – a symbol of sexual love/lust
– and his wife Rati, who are engaged in copulation with the latter usually on the top (viparita-rati sex
position). Kamadeva is generally blue-complexioned, while Rati is white. Below the couple is a lotus with
an inverted triangle, and in the background is a cremation ground. The Chhinnamasta Tantra describes
the goddess sitting on the couple, rather than standing on them.] Sometimes, Kamadeva-Rati is replaced
by the divine couple of Krishna and Radha. The lotus beneath the couple is sometimes replaced by a
cremation pyre. The coupling couple is sometimes omitted entirely. Sometimes Shiva – the goddess's
consort – is depicted lying beneath Chhinnamasta, who is seated squatting on him and copulating with
him. Dogs or jackals drinking the blood sometimes appear in the scene. Sometimes Chhinnamasta is
depicted standing on a lotus, a grass patch, or the ground.
Another form of the goddess in the Tantrasara describes her seated in her own navel, formless and
invisible. This form is said to be realised only via a trance.[39] Another aniconic representation of the
goddess is her yantra (a mystical geometrical diagram used in Tantric rituals), which figures the inverted
triangle and lotus found in her iconography.
The scholar van Kooij notes that the iconography of Chhinnamasta has the elements of heroism (vira
rasa) and terror (bhayanaka rasa) as well as eroticism (sringara rasa) in terms of the copulating couple,
with the main motifs being the offering of her own severed head, the spilling and drinking of blood, and
the trampling of the couple.
The Contradict
Chhinnamasta is a goddess of contradictions. She symbolises both aspects of Devi: a life-giver and a life-
taker. She is considered either a symbol of sexual self-control or an embodiment of sexual energy and
gift, depending upon interpretation. She represents death, temporality, and destruction as well as life,
immortality, and recreation. The goddess conveys spiritual self-realization and the awakening of the
kundalini – spiritual energy. The legends of Chhinnamasta emphasise her self-sacrifice – sometimes
coupled with a maternal element – sexual essence, and self-destructive fury.
Chhinnamasta is worshipped in the Kalikula sect of Shaktism, the Goddess-centric tradition of Hinduism.
Though Chhinnamasta enjoys patronage as one of the Mahavidyas, temples devoted to her (found
mostly in Nepal and eastern India) and her public worship are rare. However, she is a significant Tantric
deity, well known and worshipped among esoteric Tantric practitioners. Chhinnamasta is closely related
to Chinnamunda – the severed-headed form of the Tibetan Buddhist goddess Vajrayogini.
Though her head is cut off, she is the support of life. Though she is frightening in appearance, she is the
giver of peace. Though a maiden, she increases our vigor, Mother Prachanda Chandika.
Chhinnamasta is a goddess of contradictions: she "is both the food and the eater of food, thereby
symbolizing the whole world by this act of being devoured and the devourer. The dichotomy of receiver
and giver or object and subject collapses into one.".Most of her epithets listed in her nama-stotra
(name-hymn, which enlists the names of a deity) convey marvel and fury; few names are erotic or
peaceful, which are contrary to Chhinnamasta's fierce nature and appearance. Her sahasranama
(thousand name-hymn) echoes paradoxes; she is Prachanda Chandika ("the powerfully fierce one") as
well as Sarvananda-pradayini ("the prime giver of all ananda or bliss"). Her names convey the idea that
though she is fierce at first appearance, she can be gentle upon worship.
While other fierce Hindu goddesses like Kali depict severing the heads of demons and are associated
with ritual self-decapitation, Chhinnamasta's motif reverses the ritual head-offering, offering her own
head to the devotees (attendants) in order to feed them. Thus, she symbolises the aspect of Devi as a
giver, like Annapurna, the goddess of food, and Shakambhari, the goddess of vegetables, or a maternal
aspect] The element of self-sacrifice is the symbol of "divine reciprocation" by the deity to her
devotees.As a self-sacrificing mother, she symbolises the ideal Indian woman; however, her sexuality
and power are at odds with the archetype. She subdues and takes the life-force of the copulating divine
couple, signifying the aspect of the life-taker, like Kali.
Chhinnamasta's serpentine ornaments indicate asceticism while her youthful nude ornamented body
has erotic overtones. Like all Hindu goddesses, she is decked in gold finery, symbol of wealth and
fertility.
The seer Ganapati Muni associated the Mahavidyas with prakasha ("Light") and nada ("Sound") in stages
of creation. Chhinnamasta is the violent interaction between the Light and the Sound enabling Creation.
Chhinnamasta severing her own head is interpreted symbolic of the disconnecting of the Source and the
manifest Creation, similar to cutting the umbilical cord between the mother and the new-born. Further,
Chhinnamasta is associated with thunder and lightning, interacting light and sound forces. Her epithet,
Vajra Vairochani ("radiant like the vajra"), is linked to the vajra (thunderbolt) and its divine master -
Indra, the king of heaven and the god of rain, thunder and lightning.
The head offering and subsequent restoration of the head signify immortality. The dichotomy of
temporality and immortality is alluded to by the blood stream drunk by Chhinnamasta's head –
interpreted as amrita and the serpent, which sheds its skin without dying. The skull and severed head
garlands signify her victory over Time and fear of Death. Chhinnamasta's black complexion denotes
destruction; her depiction as red or orange denotes life.By drinking the blood, she appears as the
Saviour, who drinks the negativity of the world and transforms it to benevolent energies; in this
interpretation, the blood is seen in negative light rather than amrita.
Chhinnamasta signifies that life, death, and sex are interdependent. Her image conveys the eternal truth
that "life feeds on death, is nourished by death, necessitates death, and that the ultimate destiny of sex
is to perpetuate more life, which in turn will decay and die in order to feed more life".While the lotus
and the lovemaking couple symbolise life and the urge to create life, giving a life-force to the beheaded
goddess, the blood flowing from the goddess conveys death and loss of the life-force, which flows into
the mouths of her devotee yoginis, nourishing them.
The head is celebrated as a mark of identity as well as source of the seed. Thus, the self-decapitation
represents removal of maya (illusion or delusion), physical attachment, false notions, ignorance, and
egoism. The scimitar also signifies severance of these obstacles to moksha (emancipation), jnana
(wisdom), and self-realization.The goddess also denotes discriminating perception.Chhinnamasta allows
the devotee to gain a consciousness that transcends the bonds of physical attachment, the body, and
the mind by her self-sacrifice.One interpretation suggests that her three eyes represent the sun, the
moon, and fire while another links the third eye to transcendental knowledge. Unlike other Hindu
deities who are depicted facing the devotee, Chhinnamasta generally looks at herself, prompting the
devotee to look within him- or herself.
The Chhinnamasta icon is also understood as a representation of the awakening of the kundalini –
spiritual energy. The copulating couple represent the awakening in the Muladhara chakra, which
corresponds to the last bone in the spinal column. The kundalini flows through the central passage in
the body – the Sushumna nadi[g] and hits the topmost chakra, the Sahasrara at the top of head – with
such force that it blows her head off. The blood spilling from the throat represents the upward-flowing
kundalini, breaking all knots (granthis) – those things which make a person sad, ignorant and weak – of
the chakras. The severed head is "transcendent consciousness". The three blood streams represent the
flow of nectar when the kundalini unites with Shiva, who resides in the Sahasrara.The serpent in her
iconography is also a symbol of the kundalini.
Another interpretation associates Daknini, Varnini, and Chhinnamasta with the three main nadis – Ida,
Pingala, and Sushumna, respectively – flowing free.The goddess is generally said to be visualised in one's
navel, the location of the Manipura chakra where the three nadis unite, and symbolises consciousness
as well as the duality of creation and dissolution.Another tradition associates her with the Ajna chakra,
the location of the "third eye" of wisdom between the eyebrows, the other meeting point of the three
nadis.
The ability to remain alive despite the beheading is associated with supernatural powers and the
awakening of the kundalini.The Earl of Ronaldshay (1925) compared Chhinnnamasta to India, beheaded
by the British, "but nevertheless preserving her vitality unimpaired by drinking her own blood".
An 18th-century painting from Rajasthan of Chhinnamasta, seated squatting on Shiva, in coitus with him.
Cremation pyres appear in the background.
There are two contrasting interpretations of Chhinnamasta with regard to sexual desire. The image of
Chhinnamasta standing on a copulating couple of Kamadeva (literally, "sexual desire") and Rati ("sexual
intercourse") is interpreted by some scholars as a symbol of a person's control over sexual desire, while
others interpret the goddess as being the embodiment of sexual energy.
Her names, such as Yogini and Madanatura ("one who has control of Kama"), convey her yogic control
over sexual energy.Her triumphant stance trampling the love-deity couple denotes victory over desire
and samsara (the cycle of birth, death, and rebirth).Her subjugation of the amorous couple suggests that
her worship will grant control over sexual urge and other impulses of the indriyas ("senses"), whose
governing god Indra - she is associated with.
The inverted triangle, found in Chhinnamasta's iconography as well as in her yantra, signifies the yoni
(womb) and the feminine. The goddess is often prescribed to be visualised in the centre of the inverted
triangle in the navel. It also signifies the three gunas (qualities) and three shaktis (powers) –iccha ("will-
power"), kriya ("action"), and jnana ("wisdom"). The goddess is called Yoni-mudra or Yoni-gamya,
accessible through the yoni.
discussing Mahavidya as a group, Chhinnamasta is associated with rajas (in the Kamadhenu Tantra and
the Maha-nirvana Tantra) or sattva (based on her lighter complexion).
While the goddess is a mature sixteen-year old who has conquered her ego and awakened her kundalini,
the attendants are described as spiritually immature twelve-year olds who are sustained on the
goddess's blood and have not become liberated from the delusion of duality.In portrayals where the
goddess's hair is tied like a matron and her attendants have free-flowing hair like young girls, the
goddess is treated as a motherly figure of regal authority and power; the tied hair and headlessness
represent contrasting ideas of controlled and uncontrolled nature, respectively.
Chhinnamasta's association with the navel and her red complexion can be connected to the fire element
and the sun while the lotus in her iconography signifies purity
Temples
The Chintpurni ("She who fulfills one's wishes"),Himachal Pradesh temple of Chhinnamastika, is one of
the Shakti Peethas (considered the holiest goddess temples) and is where the goddess Sati's forehead
(mastaka) fell.Here, Chhinnamasta is interpreted as the severed-headed one as well as the foreheaded-
one. The central icon is a pindi, an abstract form of Devi. While householders worship the goddess as a
form of the goddess Durga, ascetic sadhus view her as the Tantric severed-headed goddess.
Another important shrine is the Chhinnamasta Temple near Rajrappa in Jharkhand, where a natural rock
covered with an ashtadhatu (eight-metal alloy) kavacha (cover) is worshipped as the goddess. Though
well-established as a centre of Chhinnamasta by the 18th century, the site is a popular place of worship
among tribals since ancient times. Kheer and animal sacrifice are offered to the goddess.
A shrine dedicated to Chhinnamasta was built by a Tantric sadhu in the Durga Temple complex,
Ramnagar, near Varanasi, Uttar Pradesh, where tantrikas worship her using corpses.Kanpur, Uttar
Pradesh, has a shrine of the goddess that is open only three days a year, around Chaitra Navaratri.Her
shrines are also situated in the Kamakhya Temple complex, Assam and Basukinath temple complex,
Jharkhand along with other Mahavidyas.There is a Chhinnamasta temple at Bishnupur, West Bengal.The
goddess Manikeswari, a popular goddess in Odisha, is often identified with Chhinnamasta.
Chhinnamasta's shrines are also found in Nepal's Kathmandu Valley. A shrine in the Changu Narayan
Temple holds a 13th-century icon of Chhinnamasta. A chariot festival in the Nepali month of Baishakh is
held in honour of the goddess. In the fields near the temple sits a small shrine to Chhinnamasta. A
temple of the goddess in Patan built in 1732 contains her images in different postures and enjoys active
worship.
Stotras
॥ chinnamastādhyānam ॥
japākusumasaṅkāśaṃ raktabandhūkasannibham ।
rajassatvatamorekhā yonimaṇḍalamaṇḍitam ॥ 6॥
vikīrṇakeśapāśāṃ ca nānāpuṣpasamanvitām ।
devīgalocchaladraktadhārāpānaṃ prakurvatīm ।
daṃṣṭrākarālavadanāṃ pīnonnatapayodharām ।
lelihānamahājihvāṃ muṇḍamālāvibhūṣitām ।
devīgalocchaladraktadhārāpānaṃ prakurvatīm ।
karasthitakapālena bhīṣaṇenātibhīṣaṇām ।
iti chinnamastādhyānam ॥
॥ śrīchinnamastākavacam ॥
śrīgaṇeśāya namaḥ ।
devyuvāca ।
sarvavidyāmayaṃ sākṣātsurātsurajayapradam ।
dhāraṇātpaṭhanādīśastrailokyavijayī vibhuḥ ॥ 4॥
śrīmāyākūrcavāgbījairvajravairocanīyahrūṃ ॥ 11॥
krīṃ krīṃ krīṃ pātu sā pūrvaṃ hrīṃ hrīṃ māṃ pātu pāvake ।
śrīpārvatyuvāca --
yoni-mudrā-yoni-gamyā yoni-yantra-nivāsinī ।
śrīgaṇeśāya namaḥ ।
śrīdevyuvāca ।
śrīśiva uvāca ।
bhavābdhirbhavamokṣā ca bhavabandhavighātinī ।
sarvārthasādhanakarī sarvasiddhisvarūpiṇī ।
sarvarañjanaśaktiśca sarvonmādasvarūpiṇī ।
gānaśaktirgānagamyā gānaśaktipradāyinī ।
gandharvagaṇasaṃsevyā gandharvagaṇamadhyagā ।
gandharvagaṇaniratā gandharvagaṇabhūṣitā ।
gharmabindusamudbhūtā gharmabindusvarūpiṇī ।
ghorakarmādiniratā ghorakarmapravarddhinī ।
ghoradāvāgnidamanī ghoraśatruniṣūdinī ।
ghoramantramanobhijñā ghoramantraphalapradā ।
ghoramantrārthavibhavā ghoramantrārthabodhinī ।
ghoramantrajaparatā ghoramantrajapodyatā ।
ṅakāravarṇānilayā ṅakārākṣaramaṇḍitā ॥ 48॥
ṅakārāpararūpā ṅakārākṣararūpiṇī ।
cāṇḍālacchedinī caṇḍataponirmūlakāriṇī ।
candramaulipriyā candramaulisantuṣṭamānasā ।
cakrapāṇirasābhijñā cakrapāṇivarapradā ।
cārukīrtiścārunetrā cārucandravibhūṣaṇā ।
cārubhūṣābhūṣitāṅgī caturvaktravarapradā ।
caturddaśayamākārā caturdaśayamānugā ।
jambhārātistutā jambhārātiśatruniṣūdinī ।
jaladhivyādhidamanī jaladhijvaranāśinī ।
jāḍyagrastajanātītā jāḍyaroganivāriṇī ।
janmadātrī janmahartrī jayaghoṣasamanvitā ॥ 70॥
japayogasamāyuktā japayogavinodinī ।
japākusumasamprītā japākusumamaṇḍitā ।
tārakārisamārādhyā tārakārivarapradā ।
tantrarūpā tapomūrtistantramantrasvarūpiṇī ।
dharādharapatiprāṇā dharādharapatistutā ।
dharādharendragehasthā dharādharendrapālinī ।
nāgamadhyasthitā nāgamohasaṃkṣobhadāyinī ।
narmadeśvarasamprītā narmadeśvararūpiṇī ।
paṭṭavastraparīdhānā padmarāgavibhūṣitā ।
paripūrṇarasonmattā premavihvalavallabhā ।
vīrabhadrārcitapadā vīrabhadraprasūrapi ।
vīṇāvādyasamāyuktā vīṇāvādyaparāyaṇā ।
vaiṣṇavācāraniratā vaiṣṇavācāratatparā ।
bhairavādhiśaramaṇī bhairavādhiśapālinī ।
bhīmāsuradhvaṃsakarī bhīmaduṣṭavināśinī ।
sarvasampatpradātrī ca sampadāpadvibhūṣitā ।
mahiṣāsurahantrī ca raktabījavināśinī ।
raktarūpā raktagā ca raktahastā bhayapradā ॥ 158॥
svarṇakuṇḍalabhūṣā ca svarṇasiṃhāsanasthitā ।
sarvalokeśavidyā ca mohasammohakāriṇī ।
kumārīrūpasaṃsthā ca kumārīpūjanāmbikā ।
ahidurgāsamācārā ikārārṇasvarūpiṇī ।
anulomavilomasthā thakāravarṇasambhavā ।
vidyāsiddhirbhavettasya ṣaṇmāsābhyāsayogataḥ ।
akhilānstambhayellokāṃrājño'pi mohayetsadā ।
sudarśavāmavedyāṃ tu māsatrayavidhānataḥ ।
ya iha marttyaśchinnamastāstavaṃ ca ।
śrīcchinnamastāsahasranāmastotraṃ sampūrṇam ॥
॥ śrīchinnamastāhṛdayam ॥
śrīgaṇeśāya namaḥ ।
śrīpārvatyuvāca ।
iti ṛṣyādinyāsaḥ ।
iti karanyāsaḥ ।
iti hṛdayādiṣaḍaṅganyāsaḥ ।
vicchinnātmīyamuṇḍāsṛgaruṇabahulodagradhārāṃ pibantīm ।
iti dhyānam ।
chinnagrīvocchaṭācchannāṃ kṣaumavastraparicchadām ॥ 2॥
yoginīstarpayantyugrā tasyāścaraṇamāśraye ॥ 6॥
kṣititalaparirakṣākṣāntaroṣā sudakṣā
chalayutakhalakakṣācchedane kṣāntilakṣyā ।
kṣitiditijasupakṣā kṣoṇipākṣayyaśikṣā
surakuvalayakāśā mandabhānuprakāśā ।
asurakulakalāpatrāsikā'mlānamūrti
bhavabhavavibhavānāṃ bhāraṇodbhātabhūtiḥ ।
śrīchinnamastāhṛdayastotraṃ sampūrṇam ॥
brahmakṛtaṃ chinnamastāstotram
śrīgaṇeśāya namaḥ ।
atha stotram ।
īśvara uvāca -
nābhau śuddhasarojavaktravilasadbandhūkapuṣpāruṇaṃ
tanmadhye viparītamaithunaratapradyumnasatkāmin-
pratyālīḍhapadāṃ digantavasanāmunmuktakeśavrajām ।
bālādityasamaprakāśavilasannetratrayodbhāsinīm ॥ 3॥
gāyantīmasthibhūṣāṃ karakamalalasatkartṛkāmugrarūpām ।
raktāmāraktakeśīmapagatavasanāṃ varṇinīmātmaśaktiṃ
pratyālīḍhorupādāmaruṇitanayanāṃ yoginīṃ yoganidrām ॥ 4॥
sadyaśchinnātmakaṇṭhapragalitarudhirairḍākinīṃ vardhayantīm ॥ 5॥
abhilaṣitaparastrīyogapūjāparo'haṃ
bahuvidhajanabhāvārambhasambhāvito'ham ।
paśujanavirato'haṃ bhairavīsaṃsthito'haṃ
sarvasiddhipradaṃ sākṣānmahāpātakanāśanam ॥ 9॥
yaḥ paṭhetprātarutthāya devyāḥ sannihito'pi vā ।
vaiyāghrājinarañjitasvajaghane'raṇye pralambodare
kharve'nirvacanīyaparvasubhage muṇḍāvalīmaṇḍite ।
śrīgaṇeśāya namaḥ ।
mātaḥ purandarapurāntaralabdhanetre ।
lakṣmīmaśeṣajagatāṃ paribhāvayantaḥ
lajjānugāṃ vimalavidrumakāntikāntāṃ
sīmantinībhiraniśaṃ paribhāvyamānāḥ ॥ 2॥
māyāmayīṃ nikhilapātakakoṭikūṭavidrāviṇīṃ
bhṛśamasaṃśayino bhajanti ।
pāśāṅkuśābhayavarādyakarāṃ varāstraiḥ ॥ 3॥
te tarkakarkaśadhiyaḥ śrutiśāstraśilpaiśchando'-
bhiśobhitamukhāḥ sakalāgamajñāḥ ।
sarvajñalabdhavibhavāḥ kumudenduvarṇāṃ
ye vāgbhave ca bhavatīṃ paribhāvayanti ॥ 4॥
vajrapaṇunnahṛdayā samayadruhaste
vairocane madanamandiragāsyamātaḥ ।
māyādvayānugatavigrahabhūṣitā'si
divyāstravahnivanitānugatā'si dhanye ॥ 5॥
vṛttatrayāṣṭadalavahnipuraḥsarasya
mārtaṇḍamaṇḍalagatāṃ paribhāvayanti ।
ye vahnikūṭasadṛśīṃ maṇipūrakāntaste
kālakaṇṭakaviḍambanacañcavaḥ syuḥ ॥ 6॥
kālāgarubhramaracandanakuṇḍagola-
khaṇḍairanaṅgamadanodbhavamādanībhiḥ ।
sindūrakuṅkumapaṭīrahimairvidhāya
cañcattaḍinmihirakoṭikarāṃ vicelā-
kāmeśvarāṅganilayāṃ kalayā
sudhāṃśorvibhrājamānahṛdayāmapare smaranti ।
suptāhirājasadṛśīṃ parameśvarasthāṃ
tvāmādrirājatanaye ca samānamānāḥ ॥ 9॥
liṅgatrayoparigatāmapi vahnicakra-
pīṭhānugāṃ sarasijāsanasanniviṣṭām ।
uccāṭane'pyasitakarmasukarmaṇi tvaṃ
tvāmutpalairmadhuyutairmadhunopanītairgavyaiḥ
sudhāmandānandaiḥ paśupatisamānavyasanibhiḥ
prathamaṃ śatakam
prathamo mukulastabakaḥ
sā śaktirmarutāmīśānasya tatā ।
putrācchinnaśirāḥ puṇyāyā'bjamukhī ।
tasmādvāyamavaccittāmbhojaramā ।
yāvanto'vatarāḥ śakterbhūmitalā ।
bālārkadyutibhṛtpādāmbhojayuvā ॥ 19॥
sphārāsyena pibantyullolānasṛjaḥ ।
māndārairiva me gāyatrairvimalaiḥ ।
nikhilāmayatāpaharī nijasevakabhavyakarī ।
aticaṇḍisuparvanute balapauruṣayoramite ।
sahatāmidamambavapustava nāṭyamapārajavam ।
viṣayārivināśavidhau ramaṇīyamupāyamaje ।
tṛtīyaḥ supratiṣṭhāstabakaḥ
caṇḍacaṇḍikāṃ bālabhānubhām ।
nābhimaṇḍalaśvetapadmage ।
sūkṣmanāḍikādehadhāriṇīm ।
ghorapātakavrātahāriṇīm ॥ 53॥
ugravikramacchinnamastakām ।
dagdhavāsanāghāsajālakām ॥ 54॥
cāruvarṇinīprītilālitām ।
bhīmaḍākinīvīryananditām ॥ 57॥
dīpyadakṣibhābhīṣitāsurām ।
yā viśattapodhvastapātakām ।
naumi tāmarivrātamardinīm ।
nākamedinīpālabhāminīm ॥ 60॥
devasundarīmastalālitam ।
śodhyatāmayaṃ sarvadhīpuṣā ।
koṭiśastava prājyaśaktyaḥ ।
tāsu vikramādhāyiceṣṭitam ।
sarvato'mba te pādaceṣṭitam ।
pūruṣo bhavannūrmiracyute ।
mattanuṃ straiyaṃ sambhunaktu te ॥ 68॥
sarvato gatirbhāmadamba te ।
ugravaibhavāśaktirantare ।
caṇḍi te punaścetpracaṇḍatā ।
martyahastinaṃ mastabhedinī ।
uttamottamā cittacintyatām ।
saupratiṣṭhasadgītamadbhutam ॥ 75॥
caturtho naramanoramāstabakaḥ
amarapālinī ditijanāśinī ।
suramahīpaterhṛdayamohinī ।
jayati kuṇḍalīpuraniketanā ।
vimalamastakairhṛdi vidhāritā ।
amitavikrame jayajayāmbike ।
paraśudhāriṇo janani reṇuke ॥ 82॥
vinatapālike dharaṇikālike ।
108
dahanakīlavannirupamogratā ।
śaśimayūkhavatparamasaumyatā ॥ 91॥
gaganadeśavatsthitiracañcalā ।
tapanaraśmivadgatirapaṅkilā ॥ 92॥
amṛtavanmadaḥ pavanavadbalam ।
tava navāmahāmadavidhāyikā ।
amararājñidevyasuravighnahā ।
satatacintanāttava guhāntare ।
viṣayaśātrāvavrajavidāraṇe ॥ 99॥
dvitīyaṃ śatakam
pañcamo rathoddhatāstabakaḥ
yattavāsanamaśeṣamohanau vidyudakṣiratisūnasāyakau ।
ṣaṣṭhaḥ svāgatāstabakaḥ
teja eva khalu vidyuti śaktaṃ vīrya eva jagadīśvari śaktiḥ ॥ 130॥
chinnamujjvalataṭitprabhanetraṃ kaṇṭharaktjalasīṃgrahapātram ।
saptama indravajrāstabakaḥ
traulokyabhūjāniraṇoraṇiṣṭhastasyātmaśaktirmahato mahiṣṭhā ।
cidrūpamatyantasusūkṣmametat jyotiryadākāśaśarīramagryam ।
aṣṭamo bhayahāristabakaḥ
ugrataranādāṃ pāpaharapādām ।
śaktakaraṇānāṃ guptabharaṇānām ।
dhvāntaharavidyudvīcikiraṇānām ॥ 177॥
nityakaruṇānāṃ vyomaśaraṇānām ।
cāpaśarayuktprojjvalakarāyai ॥ 181॥
sarvajanacakṣustarpaṇavibhāyai ।
jaṅgamavicitrāsvarṇalatikāyai ॥ 182॥
abhracikurāyai śubhrahasitāyai ।
mādakamanojñasvāduvacanāyai ॥ 183॥
induvadanāyai kundaradanāyai ।
añjalirayaṃ me kañjanayanāyai ।
pāvanacaritrāṃ māramaṇaputrām ।
mātarayi vīryatrātavaradharme ।
vajramayi mātarvajradharabhaktḥ ।
sammadayatānme svāṃśakṛtaśambām ।
tṛtīyaṃ śatakam
navamo madalekhāstabakaḥ
vidyudbhāsuravīkṣānirdhūtāśritamohām ॥ 202॥
devastrīniṭalendujyotsnālālitapādām ।
meghaśreṇyupajīvyaśrotrākarṣakanādām ॥ 203॥
śaktīnāmadhirājñīṃ māyānāmadhināthām ।
indrāṇīkalayā yatkṛttāmāviśadugrā ।
prāṇāpetaśarīrāṇyāveṣṭuṃ prabhavantaḥ ।
chinnāṃ sampraviśantīvajreśvaryatiśaktā ।
niḥśeṣairatibhīmairbhetālairabhiṣiktā ॥ 213॥
ādeṣṭāśamavitto hantāsāttvikamauliḥ ।
vadhyā niścalasādhvī śocyetaśca kathā kā ॥ 216॥
māryādyāmayavījībhūtastambaviśeṣāḥ ॥ 217॥
karāgāranivāsātmāhiṣmapatyadhipasya ।
daśamaḥ pathyāvaktrāstabakaḥ
bhāvānāmanubhūtānāṃ vākyatvenāvabhāsanam ।
yadāviśastvamugre'mba reṇukāmugratejasā ।
upāyamabhidhāyāmbā viṣayārividāraṇe ।
ekādaśa upajātistabakaḥ
vedādirambhoruhanetrajāyā māyāṅkuśabrahnamanodhināthāḥ ।
nābhisthaśuklābjagasūryabimbe saṃsaktaratyambujabāṇapīṭhe ।
digambarāmarkasahasrabhāsamācchāditāṃ dīdhitipañjareṇa ।
bhayaṅkarāhīśvarabaddhamauliṃ jvaladyugāntānalakīlakeśīm ।
dvādaśo nārācikāstabakaḥ
māmugrapāpahāriṇī sarvaprapañcadhāriṇī ।
indresurārihartari trailokyabhūmibhartari ।
sā me'lpamartyatāśritāṃ hatvā'dhamāmahaṅkṛtim ।
etābhiruttamāṃśubhiḥ nārācikābhirīśvarī ।