CHAPTER -VIII

THE TANTRIC YOGINI PITHAS IN ORISSA

(1) ORIGIN OF YOGINIS :

Exactly when the cult of the Yogints emerged in

Its full-fledged form, is difficult to determine. Although

stray references to Yoginis may be found in earlier works,

both archaeology and textual evidence point to the emergence

of the Yogini cult around the ninth century. The cult of the

mother goddesses (Matrikas) and Tantrtc modes of worship

with which the Yoginis are closely associated, were known

from much earlier times. A broken stone panel in the Mathura

museum, belonging to the 2nd century A.D., depicts a set of

five mother goddesses with such heads, each has a child on

(1)
her knee indicating that they are mother goddesses.

This Tantric worship of the mother goddesses is

vividly explained in the following verse of the

Gangdhar inscription dated to A.D. 423. Interestingly,

Gandhar lies within the belt of existing Yogini temples.

Fascinating information about the multiplicity of

mother goddesses and their derivation is contained in the

Mahabharata, compiled sometime between the 4th century B.C.

on the other hand the 4th Century A.D. .

 3 63

Th6 Salya Parva relates the story of skanda being

joined in his exploits by a group of mothers (matrgana) of

(2)
whom nearly two hundred are named. We are told that the
mother goddesses are originated from the Gods Yama, Rudra,

Soma ( candra), Kubera, Varuna, Indra, Agnl, Vayu, Kumara

(Skanda) and Brahma. In form they are told to be like the

Apsaras, those beautiful celestial maidens, in speed like

Vaya, god of wind; in their lustre like Agni, god of fire,

in strength like Indra.

They are described as having melodious voices and

as speaking different languages, indicating there varied

tribal origin and pointing to the possible derivation of

gruopings of mother goddesses such as the Yoginis from a

variety of tribal and village deities. The cult was

prevalent prior to the 10th century A.D.. References to

(3)
Mahayoginis in the Somadeva1s Yasatilaka composed in

959 A.D. support the prevalence of this cult prior to the

10th century A.D..

Reference to early temples of the mother

Goddesses are contaihed also in the Rajatarangini. Kalhana

records that Isanadevi, wife of king Jalauka, built

Matrcakras, circles of mothers, at a number of places in his

( 4)
empire. Jalauka was believed to be a grandson of emperor

Asokamaurya, and this would seem to indicate that as early

as the 3rd century B.C., circular temples of the Matrikas

were in existence.
 Unfortunately, however, we cannot treat this as a

historical fact since Kalhapa, writing in the 11th century

A.D. based much of his early History on legend and here say

in the absence of clear historical documentation. At any

rate, Kalhana believed that temples of the mothers had been

in existence far a thousand years. We don't know the exact

date of the Mahabharata passage, but considering the

antiquity of the mother goddesses cult in India, there would

be nothing extraordinary about the existence of Matrcakras

in the 3rd century B.C. .

The great dramatist Bhasa, writing his Carudat ta

in the 2nd or 3rd century A.D. refers to ritual offerings of

(5)
food that were made to the Matrikas at the crossroads

The another dramatist Sudraka, whose Mpcchaka t ikang is

based on Bhasa's Carudatta, repeats the observance of this

(6)
custom impllying that shrines of the mother Goddeses

were frequently built at the crossroads as one of the places

where the mother dwell, and in teres t Lnjg in this context are

the names it gives to two of these Matrikas Ca t us pa tha

niketana (she who dwells at the crossroads) catuspatha and

(7)
- rate (she who is enamoured by the crossroads . A large

number of Tantric text Kaulavail Nirnaya refers to the

continuing association of the crossroads with the cult of

the goddess in stating that one should recognize as

crossroads that site where there is an image of Candika

(8)
(Catuspatham Vijaniyat yatraste candikUsi1e).
 3 65

In the seventh (7 th) century Banabha11a, the

court poet of king Hargavardhana (606 -647) tells us of an

old temple of the mothers where king Pugpabhut1 was to meet
(9)
the saint Bhairavacharya, and other early literary works

contain several casual references to Matrikas and temples

built for them their worship.

This is a evident, for instance from the Harivamsa

(4th Century A.D.) which associates the worship of the

goddess Vindhayavasini with barbarian tribes such as the

(10)
Pulindas and savaras. Varahamihira in his Brhatsamhita

(6th century) specifically mentions that only those versed

in Mandalakrama (Circle worship mode) may worship the mother

(11)
Goddesses who are mentioned in the plural as Matrgana .

It would appear, therefore, tha t j us t as there

were special groups of Brahmins such as the magas who

worshipped Surya and the Pasupatas who worshipped Siva. So

also the mothers and their own priests, A later text refers

to astastaka krama (mode of worship o 6 4) in connection

(12)
with the circle of Yoginis (Yoginivrnda) and clearly

indicates that there was as specialised manner of worship as

also a select group of priests who conducted the ceremonies

of the Yogini cul t.

Epigraphic evidence of the cult of Yoginis are

not found in Orissa; But such evidences are found in other
parts of India. For instance an inscription from Ankalgi in

the Jath taluk of the south satara District of Maharastra

dated 1174 A.D. refers to the village Ankulage as the abode

of Mahayogesvarl UgrachamuijtJa. the presiding deity of the
(13)
sixty four yoga pithas. Mahasaraanta Chamundarasa a
subordinate of the western chalukya king vikramadi tya - VI

is explained as 'one who had obtained the gracious boon of

the sixty four yoginis.

(14)
In an epigraph from Halagondi in the

Hadajalli taluk of the Bellary District, now in the Andhra

state which is assignable to 1093 A.D. The expression "sixty

four Yoga pithas" is of frequent occurrence in the Prasasti

of the great mercantile corporation Ayyavale five hundred

(15)
figuring in the inscriptions of Karnataka. The earliest

known orthodox text that contains lists of the sixty four

Yoginis is the
Agni purana which was complied in its
- (16)
present form some time in 9th century.

Its 52nd chapter which names the 64 Yoginis and

briefly describes them, consists of a total of sixteen lines

and is entitled Devipratimalakgana or " Attributes of images

of the mother goddesses," Thus indicating that images of the

Yoginis were already being made. For this admittedly
heterodox cult to have found acceptance in a Purana by the

9th century must testify to the powerful hold it exerted

over its increasing fold of followers.

 3 67

One would imagine that the cult was fairly well

known for some time before that date and hence it is likely

that whatever its precise antiquity, some time between A.D.

600 and 580, the cult of Yoginis had been accepted in the

mainstream of Hinduism. That this seems to be the general

period for the emergence of the cult seems to be

corroborated by the Tantric tradition as well, there exists

a fragmentary manuscript of the Kubj ikamata in what has been

(17)
described as "late Gupta characters .

The kubj ikamata as we know i't today from late

copies in Nepal, refers to the Yoginimata or doctrine of the

Yoginis and one of its chapters is devoted to the

(18)
Yoginis.

The Kubjikamata itself comprises

fourth the
(19)
section of a collection known as the Kulalikamnya, of

which the first section is the sri Ma tot tar a Tantra which we

have seen to be vitally connected with Yoginis. The term

"Late Gupta" suggests to us a date around the 7th century,

but in the context of another manuscript, the term has been

(20)
interpreted as the 8th century .

This piece of indirect evidence suggests that the

Yogini cult may have emerged as early as the 7th century and

certainly in the 8th century, although we have to keep in

 3 68

mind the fact that we are Judging the contents of an early

text from later versions which probably have undergone many

additions and interpolations.

According to Dr. Narendranath Bha ttacharya the

Goddesses Saptamatrikas or Astamatrkas had been increased by

and by namely. After this augmentation the worship of Yoginjp

are continued in the soil. Accordingly him " Originally the

Yoginis were probably human beings, women of flesh and

blood, priestesses who were supposed to be possessed by the

goddess, and later they were raised to the status of

divinities.

By the usual process of multiplication their

number increased from eight to sixteen and then to sixtyfour

or more. In Sanskrit literature the Yoginis have been

represented as the attendants or various manifestations of

DurgI engaged in fighting with sumbha and Nisumbha and the

principal Yoginis are identified with the Matrikis."

The description of Tantrasastra every eight kind

of Yoginis were increased from main eight mother Goddesses,

whose are namely Ugrachanfla, Bhadrakali, Durgi, Ugratara,

Kousiki, Kali, Sivaduti and Mahamaya. These following slokas

are indicating the creations of 64 yoginis which have been

given below
 3 69

(1) From the Eighteen armed Ugrachanda,was developed -

Kausikl Sivaduti ca Uma HaimabatisvarT /

Sakambarl ca, Durga ca Astaroi ca Mahodari //

(2) From the Sixteen armed Bhadrakali, was developed -

Jayantlm Mangalam Kalim Bhadrakall Kapalinim /

Durgam Sivam Kshamam Dhatrim dalesvastesu pujayet //

(3) From the two armed or the ten armed Durg^was

developed-

Jaya ca Vijaya catva Matangl Lallta Tatha /

Narayan yatha Slvltrl Svaha Svadha Tathagtami //

(4) From Ugratara((Who is four armed) was developed -

Mahakallyath Rudranl Ugravima Tathaivaca /

Ghora ca Vramari caiva Maharatrl ca Saptaml //

(5) From Eight armed goddess kausik^ was developed -

Brahmani prathama prokta tato Mahesvari mata. /

Kaumarl caiva Barahi Vaisnavi panchamimata //

Narasimhi tatheivendri sivaduti tathastami //

Etaha pujjyaha mahavaga Yoginyaha kamadayini //

(6) From four armed Kali;was developed -

Tripuri Visana Chandi . kartri, Hantri, Vidhayini, /

Karali sulini ceti Asteetaha pariklrttitaha //

(7) From four armed Sivaduti, was developed -

Kshemnkari ca santa ca Vedamata Mahodari /

Karala kamada Devi Bhagashya- Bhagamalini //

Vagodari Vagaroha Vagai1vha Vaga tatha /

Etaha Dvadasa Yoginyafta pujane parikirttitaha //

 (21)
(8) From ten armed mahamaya, was developed -

Ugracapda prcanda ca Capdougri Candanayika /

CanQa Candavatl Calva Camupda Capdlka tatha //

(2) WORSHIP OF YOGINIS :

A detail description of sixty four yogini's

sadhana or worship is found in Brihat Bhutadamara Tantra

This Tantra is explained these sixty four Yoginis are

prominent from these Saptakoti Yoginis. According to Tantra

sastra mainly these eight Yoginis should be worshipped in

Astadala Padma (Eight petalled lotus) likely sixtyfour

Yoginis. On the other hand Mahavairava Siva should be

worshipped in Padma Kesara. (rip and dried seeds of lotus).

Then Sadanganyasah should be done with Hrim bT ja. Mantra

(seeds) after doing pranapratista. At last the sadhaka

should pray to these mother Goddesses with Dyanamantra. This

is the process of worship of Yoginis. Some Dyanamantras are

given.below : - .

Purnnacandra nivam Devim vicitrambaradharinim, /

Pinnottunga kucham Bamam Sarvanjnamavaya pradam //

According to Bhutadamara Tantra Dhyana mantra of yogini's is

given below

Kurnganetram Saradindubaktram Bimbadharam

Gandagandhaliptim /

Cinamsukam pinakucam Manojnnam shyamam sadakama hrudam

(22)
Bi ci t ram //
 371

This sadhana of Yoginis is finished within 1

mon th. (one month) The great sadhaka can be accepted :o

yoginis like, mother, sister, and wife for worship. But t

shoul d remember this sadhana will fruitful by the advice of

Guru. Bhutadamara says that the great sldhasidhaka of

Yoginls will like Yak§ha or Dhanadhipa. This following verse

(23)
runs thus.

Athatah samprabak?hyami Yoginl sadhanot tamaqi /

Sarba thasadhanam Dehinam Sarvasidhidam //

Atiguhya Mahavtdyi Devanamaptdurllavam /

Yasambhyarcanam Krutva Yakshesah Abhut Dhanadhipafr //

For the first time the great Matsyendrana ih

described in his Kaulajnana Nirnnaya about kaula aradhana

(kaula worship) and its philosophy. He was the inacarnation

*
of Vairava Siva it is his own description . Matsyendra had

worshipped Gupta Yoginl kaulavldya with womens. For the

first time Matsyendra had declared this Kaulapratha. So that

after he is called Matsyendra Kaula.

According him, every womens of kamarupa were the

form of Yoginis and they were also fit for Kaulas§dhanl.

Saubhagya Bhaskara states that siva is Akula, and Sakti is

kula. In addition of kula and Akula that is called

Kaula Marga. This following line runs thus "Siva, the Akula

is represented in the Yogini temple of Orissa and Madhya

pradesh in supreme poise and beautitude with uplifted male

organ symbolising the complete cessation of the triple

 372

stirrings of consciousness, beadth and semen. The image

echoes the reconciliation of the impassiveness of yoga with

the lyricism of sex. The mystic and esoteric Kaula rites

that the prevailed in India were systematised oy

Matsyendranath, the author of Kaulajnananirnaya who

preached the doctrine of Yogini Kaula.

The tradition of kaulasadhana had been famouced in

India during the time of 6th /7th century A.D. A large

number of Granthas are indicated it. The

Ya jnanavalikyasmruti, Gathasaptasati, Buddist Gran:h

Laiitabistara, kadambari of Bapabhat{a, Mai a timadhava of

Bhavabhuti, Brahmanda Purana , Bayupurapa and Ma tsyapurapa

are indicating kapalikas and kaulasadhanas. The inscription

of Sravanavelagola said the Ganga king manasing (lit) is

also same with Siva, because he was a great Kapalika.

The another inscription Tiramkudal which is

si t ua ted Mahesura district and an inscri pt i on of the

Chal ukya Naga bardhana also s tates the same type of

description about kapalikas.

Orissa was also a great kapalika centre in ancient

time, because here two prominent Yogini temples and Tantric

deities were worshipped. These kapalikas were also connected

with this Tantric worship in this soil. The VaitSla temple

at Bhubaneswar is known as a kapali temple and the goddess

of this temple is four armed CSmunda. The kapalikas were

 373

fully associated with this temple, it is a great evidence of

Dr. K.C. Panigrahi. .

He says :-"It is most likely, as we have already

pointed out that the sacrifice of human beings and other

animals were resorted to in the temple of KapalinI (the

vaital) at Bhubaneswar and that the lower portion of the

stone pilllar that we have still find infront of its door,

is the remant of a yupa.

Unlike the cel las of other temples, where light

and shade Intermingle to create a serene atmosphere, the

sanctum of the Vaital is intersely dark. Darkness is no

doubt an outcome of an altogether different ground plan that

has been followed in this temple. The seriousness of the

aweful esoteric rites that were once preformed here, must

have been heightened by the darkness of the Celia and by the

presence of some images in their most terrific figures

carved on the inner walls, occurs a Bhairava depicted in the

most hideous and terrific form that human imagination can

ever conceive.

This image might have been another deity of the

worship for the kapalikas take Bhairava to be the creator,

protector and destroyer of the world and believe that a.l

other gods are subservient to him. The above discussion wi.l

show that the Vaital was a shrine of the kapalikas. "

 374

(3) EVOLUTION OF YOGINIS IN ORISSA AT VARIOUS TIMES

Upto A.D. 1000, the region of Orissa never found

itself under the rule of one single dynasty and the

political scene in the 9th and early 10th centuries was

still confused . As many as six different rulling families

controlling small independent kingdoms with it.

A defeated dynasty often lay dormant as petty

chieftains for as much as a century, and took advantage of a

decline in power to declare themselves monarchs again. In

view of the complex political scene and in the absence of

inscriptional evidence, it is not easy to clearly associate

the construction of either of Orissa's two Yogin.i temples

with any particular line of monarchs.

We have no clear information regarding the dynasty

rulling coastal Orissa around A.D. 900 when- the YoginI

temple at Hirapur near Bhubaneswar was constructed. The

early Bhaumakarakings had ceased reign by the year 840,

while the Somavamsis took over the area only around 1000.
Possibly, during this intervening period, the Bhanja rullers

of the Baudh group, apparently dormant chieftains at this

time, temporarily extended their rule into the coastal area.

These Bhanja rullers are known to have been worshippers of

the Goddess. They frequently styled themselves as favoured

by the Goddess " in their inscriptions. Probably, they may

have been responsible for the construction of the Hi rapur

 37 5

shrine. The temple of the Yoginis at Ranipur Jharial in

interior Orissa seems to have been built in territory under

the control of the early Somavamsis, a rulling family who

(24)
moved into Orissa from central India around 900. They

ruled this area known as interior Togala from the town of

Binka on the Mahanadi river, and gradually extended their

power into the coastal region of Orissa.

A Mattamayura ascetic named Gaganasiva, a coming

from central India, built a Siva temple at the foot of the

hill at Ranipur Jharial and left an inscription there;

however, he does not appear to have had any connection with

the Yogini temple crowning the hill. There is no direct

evidence to associate the Somavamsi rullers with the Yogini

temple at Ranipur Jharial. In view of the importance of

Yogini worship for royalty, one may suggest perhaps that

the Somavamsi monarchs who had recently migrated into

Orissa, built a temple dedicated to the Yoginis, hoping to

win their favour and there by consolidate their dynastic

position.

The centuries between 8 50 - 1200, the period of

the Yogini temples, witnesses a plurality of political

power, with a continuous struggle for supremacy between a

number of independent kingdoms. In an atmosphere of

political flux and changing loyalties, one can visualize the

royal devotee assigning importance to the cult of the

Yoginis who promised him success in military campaigns. We
 376

have seen that while the Yogini temples at Bheraghat,

shahdol, Ranipur - Jharial and Hirapur seem to have been

built by different patrons, most other extant Yogini temples

some eight in number, were constructed in territories under

candella rule. Candeila patronage may well have been a

factor of significance in encouraging and supporting the

cult of the Yoginls, and in giving an added impetus to its

spread and popularity .

The description of Major General Campbell who

visited this area during the year 1864, answers the

description of Rinipur Jharial, where there is a circular

Yogini temple and not less than fifty temples in various

stages of dilapidation .

More over there is a small village named Suruda

near the site, on the basis of which we may conclude that

there were only two Yogini pithas in Orissa, one at Hirapur

and other at Ranipur Jharial (Suruda).

There was no other Yogini pitha at surda in the

Garfjam district and Mr. Karambelkar might have confused

surada near Ranipur Jharial with a place of the same name in

Garfjam. The Yogini pi thas in Orissa were probably

established when Brahminical Tantric religion, became

popular in the country and began to vie , with the Vajrayana

cult of the Buddhists, which originated in Uddiyana in the

6th/7th century A.D.

 377

(4) YOGINI PITHA OF HIRAPUR

The sLxtyfour Yoginis of the HIrapur temple were

still being worshipped in the 15th century A.D., The great

Sarala Das seems unaware of it. Among the Vahanas listed in

his text are the Swan, Garu^a, Sampati, (Garudas brother),

the Owl, Bear, Tiger and the Leopard, none of which are to

be seen at Hirapur. Like wise, some of the more striking

mounts sculpted below the Yoginis at Hirapur are not

mentioned in Saraladas’s list.

These include the fish, Parrot, Turtle, Frog

(occurs twice), Snake, decapitated male head, an archer and

a rat (occurs more than once). If Saraladasa had been

familiar with Hirapur, it is inconceivable that his list of

Vahanas would not agree more closely with those carved at

that shrine. Two Yoginis at Hirlpur whose identity seems

clear, fail to find mention in the Candipurana.

The first is the elephant headed yogini (No. -38)

standing on a donkey, who could be a version of Ganesani or

Vainayaki, although in the absence of the typical

attributes of Ganesa, it seems safer to call her Gajanana

(Elephant headed) . The second Yogini seems to be Agni's

Sakti Agneyi, since she is depicted with a backdrop of

flames and has a ram as her mount. The attempt to identify

 378

Yoginls from the Candipurana among the Hlrapur Images ts rot

successful either.

Hirapur's four - armed Yogini No. 40. Standing on

a scorpion, could be Abhaya or vlraja, to both of whom the

text assigns a scorpion vahana. We must assume that Sarsla

Dasa obtained his information on the Yoginls, not from the

temples that existed around him, but from earlier lest

texts in the orthodox tradition. It would be possible, of

course, to use alternate sources and postulate for instance

that Hirapur's Yogini NO. 16. who stands on a fish is

Hunkari, mentioned by Hemadri and others as part of Matrika

exclusive Yogini tradition (See appendix II } Yogini cult

and temples A Tantric tradition. But unless we know that a

particular tradition was prevalent in a given area, it

would be presumptions to use such texts Indiscriminately to

identify the Yoginis.

It is a very interest to mention that sixteen of

Sarala Dasa's Yoginis are still worshipped in separate

temples as independent goddesses and his Yogini Vasell is a

deity enshrined in almost every Oriya village. These would

have been village deities concerned only with day to day

matters like love and hate, fertility and child birth, snake

bites and disease.

Tantrism took these simple Gramadevatas and

transformed them into potent groups of sixty four Yoginis

 379

whose worship leads to the acquisition of a variety of

magical powers. Each yoginl temple reflects then a different

and localised tradition of Yoginis and it would be

fruitless to seek the specific names and rituals associated

with each temple. Chausathi Yogini temple of Hirapur

situated at a short distance from Bhubaneswar. This unique

temple remained unknown for long till it was discovered by

Mr, Kedarnatha Mohapatra in 1952.

Mr. Mahapatra also later published an article on

the shrine in the Orissa Historical Research Journal with

the photographic reproductions of the Yoginis. The Hirapur

temple is built of coarse stand stone blocks with laterlte

in its foundation, while its Yoginis are carved from line

grained grey chlorite.

The inner walls of this circular temple have sixty

niches with all sixty Yoginis still in position. The small

central pavilion, clumsily reconstructed in recent years,

has eight niches, four with images of the remaining four of

the sixty four Yoginis, and four houshing images of four

Bhairavas. In the centre of this shrine pavilion stood an

image of Siva which, regrettably was stolen soon after the

discovery of the temple.

The Yoginl images are about two feet in height and

the chlorite slabs from which they have been carved are

tightly wedged into the niches prepared for them. Each

 380

Yogini niche has been treated as a miniature shrine, wi:h

base moulding below and a roof treatment above, containing a

relief carving of an arch such as is seen on all Orissan

temples. The Hirapur Yoginis are extraordinarily beautiful

figures with exquisite features and sensuously formed

bodies. They are standing figures.

They wear elaborate ornaments of various types. A

gentle maiden adjusting an anklet, exudes femininity and

sensuality with her softly curved stomach, wide hips and

high rounded breasts. Her slim, flexible figure is
admirably portrayed, while her eyes, eyebrows and lips have

delicate lines. There is little to indicate her divinity and

indeed, the same may be said of the Diana - like huntress

maiden, wleldding bow and arrow, and endowed by the sculptor

with infinite grace.

An attempt to locate the Matrikas at the Hirapur

temple proves unsuccessful. For instance, it is tempting to

identify the sole Yogini with an elephant as Indrani since

that animal is her mount. But instead of the Vajra (Thunder

bolt) this graceful figure (No. 3) holds a skull cup to her

lips.

She could be the Yogini Surapriya drinking wine,

or Rudhirapayini drinking blood, or KapalinI ( She of the

skull -cup bowl) ; but she is not Indrayani and we are

forced to conclude that Hirapur has no Indrani, Brahmayani

 381

and Narayani are absent, and Varahls familiar sow face and

her accompanying Vahara of boar or Buffalo is not to be seen

among the group. Sarala Dasa, incidentally, assigns varahi a

black dog as mount, Camunda with her easily discernible

iconography is not present either .

The only camunda like skeletal figure with sunken

stomach and pendulous breasts is yoginl No. 56 standing on

an ass wearing a garland of skulls she holds a severed head

and a dagger in two of her hands, while her other two hands

hold aloft a lion carcass. Thus, with only one deity

missing, we can say with confidence that the YoginI tsmple

of Hirapur excluded the Matrlkas.

In absence of insert pt i onal material and of

specific textual reference to Hirapur, the best way to

establish the date of this temple is by comparison with the

wealth of sculptures at the nearby centre of Bhubaneswar.

Because of the nearness of the site, it is not far fetched

to assume that the same workshops that produced the temples

at Bhubaneswar were also responsible for the Hi ripur temple.

The Hiripur sculptures display the closest affinity with the

beautiful carvings adorning the Muktesvar temple at

Bhubaneswar.

This shrine is generally assigned to the end of

the 9th century or to the beginning of the 10th. The

sculptures at both Hirapur and Muktesvar exhibit a

 382

similarly soft and sensitive modelling of the famale form,

characterised by a sense of restrained animation and quiet

elegance.

The details of Jewellery and ornamentation form a

striking contrast to the smooth, rounded planes of the

almost bare body. The carvings in the Hirapur and Muktesvar

temple are more refined and rich than those in the

Parasuramesvar and the Vaitala temples. On the other hand,

exaggerated image proportions of a later date are not yet

evident. We are thus inclined to suggest that Hirapur Yogini

temple was completed by 9 00 A.D. .

Further support for such a date comes from the

treatment of base mouldings under each YoginI niche. These

mouldings, through, here simplified, are akin to type III

mouldings such as are seen on the Muktesvar temple, and

(25)
these, as we have shown elesewhere, can not be dated

much later than 900 A.D. Hirapur, therefore, must belong to

what we have described as she culmination phase of the early

(26)
Orissan temple, ,a phase which dates between 8 50-930.

Hirapur is the only YoginI temple to have sculptures on its

outer walls, where we see nine niches each containing a

sandstone female figure.

The great
Kedarnath Mohapatra who brought the
(27)
temple to light, calls them Katyayanis, but he provides

no evidence for such an identification .

 It seems more probable that they represent :he

Niee Durgas of the Canda or fierce variety and that their

function here is that of guardian Goddesses. Another

unusual feature of this temple is a projecting entrance way

flanked by doorkeepers. The entire mood is suggestive of

sava sadhana rites. As mentioned earlier, Hlrapur also has

four Bhairava images against the walls of its central

shri ne.

One is a standing Goddess of EkaEada_Bhairaya and

the other three are ten-armed seated images, each placed on

a lotus seat with a recumbent male below and a small dancing

famale brandishing a knife is one hand and holding a skull -

cup in the other. In all other YoginI temples we find only
the essential elements of the circle of Yoginis around a

central shrine for Siva as Bhairava.

( 5) YOGINI PITHA OF RAN I PUR JHARJAL

Ranlpur - Jharial is situated in the Titlagarh Sub-division

of the Balangir District. According to the local tradition

the place had originally one hundred and twenty temples but

when Mr. Beglar visited it in 1874-1875 there were

fiftyseven temples in various state of preservation.

(Cunningham's Archaeological survey of India Reports.

 3 84

Vol. XIII. PP. 1.8.1.2) Ranipur - Jharial may

aptly be described as the Bhubaneswar of the patna

Sambalpur region. The Somesvar the largest stone temple of

the place, contains on inscription of Gangansivacharya which

has already been referred to in chapter XVII under Section

Saivism. Mr. K.N. Mohapatra has thrown considerable light on

the origin of this shrine (The Orissa Historical research

(28)
Journal vol. Ill No. 2,pp. 65.7 5).

An Inscription in a temple on the embankment tells

us that by bathing in the waters of this tank, known as

Somatirtha, all one's sins will be washed away. The Ranipur

Mother Goddesses yoginT temple has a diameter of

approximately fifty feet, making it more than twice the size

of the Hirapur temple. The figures are larger and all tne

Yoginls are shown dancing, each striking an Identical pose.

(Karana). The positioning of the legs is basic to all Indian

classical dance and is a stance assumed at the start of each

set of movements, thus the Yoginls are poised as if ready to

commence their dance.

There are sixty - four niches in this temple, and

at its centre, still relativity infact, is the original

small roofed pavilion containing an deity of dancing siva.

The textual concept of siva at the centre of a circle of

Yoginls is thus followed here exactly. However, the fact

that siva and the yoginls are dancing appears to be a novel

iconographic arrangement.
 3 85

Siva has three faces and eight arms and is shown

with Urddhavlinga; Ganesa and the bull Nandi are also carved

along the base of the figure. As at Hirapur, here too the

Matrikas are not in evidence. Mlhesvari would normally be

depicted holding a trident in one hand, but no less than

fifteen yoginls at RanTpur - Jharial hold the trident,

Brahmi's attributes area rosary and Kamandalu (water

vessel) and she is further distinguished by three faces.

No single YoginI in this temple holds both the

rosary and the Kamandalu, while the two yoginis depicted

with three faces (Nos. 1 and 12) hold a trident. There is no

sign of skeletal Camunda or sow - faced Varahi, nor of
Vaisnavi, AindrI or Kaumari. It seems that at Rani pur

Jharial as at Hiripur, we see a tradition that

differentiated between the Matrikas and Yoginis, while it

would be possible to argue that the Matrikas may be

accounted for among the fifteen missing images, this

argument is not entirely convincing.

It is unfortunate that the Vahanas of these

Yoginis, once carved in shallow relief against their

pedestals, are completely defaced except in the case of four

of the images. Ranipur - Jharials reveals a larger

proportion of animal headed Yoginis than Hirapur with

fourteen such heads being clearly distinguishable.

 3 86

Among the missing Yoginis is one who would have

been unique as she had the attributes associated with surga.

Cunningham described her, more than a century ago, as hoding

a lotus in each of her two hands and as having seven horses

(29)
depicted against her pedestal. Another intriguing but

sadly damaged image is intact only from the knees down

today, and shows us a Yogini dancing upon a recumbent male

figure. Cunningham's description is of a six or eight armed

image with one pair of hands pulling wide open her mouth,

and her other hand holding a sword, a skull cup and a kettle

drum.

The gesture of her hands suggests her possible

identification with such Yoginis as Attahasa (She who laughs

loudly) or Haharava (She who utters loud sounds). The mother

Goddesses Yoginis of Ranipur - Jharial are all carved from

the same coarse - grained inferior sandstone that was used

to construct the walls of the temple.

The stone is badly weathered and this has greatly

affected the quality of the sculptures. Only in a few

instances can one discern the lost, finesse and original

charm of the figures. Close - up photographs of some of the

Yoginis give an indication of the once finely delineated

features of their hand some faces, while expressive in its

carving are the grotesque Yogini such as No. 38, with her

sunken eyes and her flaming hair crowned by a tiara of

sk ul 1s .
 3 87

Admittedly Rani pur - Jharial lacks the impact of

Hirapur, but it appears that the region lies more in the

unfortunate choice of the material than in uninspired

(30)
workmanship . It is not easy to arrive at a specific

date for Ranipur - Jharial's Yogini temple.

The Somesvara shrine at the foot of the hill

alongside the tank appears, on the basis of plan, decoration

and inscrl pt i onal evidence, to have been constructed prior

(31)
to A.D. 900, while some of the other temples at the

site could well date a hundred years latter. As far as

Ranipur - Jharial's Yoginis are concerned, it is difficult

to make any judgements on the basis of scultpural style.

Quite apart from the badly worn condition of the stone which

precludes the validity of such comparisons, there is little

sculptural material in interior Orissa for such a stucy.

Comparison which the work of sculpturs in the

distant centre of Bhubaneswar would scarcely be correct. The

simple carving of the Yogini slabs, devoid of the subsidiary

attendant figures that we shall encounter later of

Bheraghat, shahdol and other sites, as well as the absence

of haloes, leads us to suggest that Ranipur - Jharial's

Yogini temple may have been constructed soon after 900. A.D.
 3 88

(6) LISTS OF SIXTY FOUR YOGINIS :

(A) Sixty four Yoginis in Kalikapurana

1 . Brahman! 33 . Parn§
•

2. Candika 34. Mahodari

3; Raudri 3 5. Ghorarupa

4. Gaurl 3 6. Mahakali

5 . Indrani 37 . Bhadrakall

6. Kaumari 38. Bhayahkarl

7 . Valsnavi 39 . Ksemakarl

8 . Durga 40. Ugracanda

9 . Naraslmhi 41 . Candogra

10. Ka1ika 42. Candanayika

11 . CamundlT 43 . Canda

12 . Si vadut l 44. Candavati

13 . Varahl 45. Candi

14. Kausiki 46. Mahamoha

15. Mihesvarl 47 . Priyaftkarl

16. Sankar! 48. Balavikarinl

17 . Jayan 11 49. Balaprama thanT

18 . Sarvamahgala 50. Madan onma than!

19. Kali 51. Sarva bhu t adamanT

20. Kapaiini 52. Uma

21 . Medha 53 . Tara

22 . Siva 54. Mahanidra

23 . Sakambar! 55. Vijaya

24. BhTma 56. Jaya

25 . San ta 57 . Sail aput rl

 3 89

26. Bhramarl 58. Candaghan ta

27 . RudranI 59. Skandamata

28 . Ambika 60. Kalaratrf

29. Ksaraa 61. Candika

* *
30. Dha t rf 62. Kusmandi

31. Svahi 63 . Kityayanl

32 . Svadha 64. Mahagaurl

(B) MAHAKALASAMHITA

Sixty four Yoginis in Mahakala Samhiti

1 . Brahmanl 33 . Mahodarl

2. Candika 34. Ghorarupa

3 . Raudri 35. Mah’akalf

4. GaurT 36. Vidyutejhiva

5. IndranI 37 . Kapalini

6. Kaumari 38. Ksemakari

7 . Bhairavl 39 . Mahimaya

8. Durga 40. Meghamala

9. Narasimhi 41. Balakini

10. KalikS 42. Suskodari

11. Camunda 43 . Candaghan ta

12 . Si vadut t 44. Mahapreta

13 . Varahl 45. Priyankarl

1 4. Kausiki 46. Khara t undi

15. Mihesvari 47 . Rksakarnl

16. Sankari 48 . BalapramathanI

17 . JayantT 49. Manonraathani

18 . Sarvamahgala 50. Sarva bhutadamari

 390

19. Karalini 51. Umi

20. Muk t akesi 52 . Tara

21 . . Siva 53 . Mahanidra

22 . Sakambarl 54. Vij aya

23 . Bhima 55. jay a

24. San ta 56. Sal1aput ri

25 . Bhramart 57 . Mahalok5

26. Rudrani 58 . Trisull

27 . Candarupini 59. An janaprabha

28 . Ksama 60. Kusmanda

29 . Dha t ri 61 . Visavasan t rasa

30. Svadha 62 . Ka tyayani

31 . Svaha 63 . Kal ara t ri

32 . Aparana 64. Mahagaurl
 II
SIXTY FOUR YOGINIS IN CAKRA O F SIXTY FOUR SQUARES

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 3 92

REFERENCES

1. Mathura museum panel No._33.2331.4 See B.N. Sharma

( 1979) plate 2. vide Yogini cult and temples A Tantric
Tradi 11 on .

2. Damodar Satvalekar (1973) Ch. 45, vs. 1-40,

pp. 3 51-3 56.

3. K.K. Handigul, "Yasas111 aka and India culture",

Jtvaraja Jain Granthamala, 1949 pp. 204 and 396.

4. Raghunath Singh (1969) B.K. I.V. 122.

5. C. Trlpathi (n.d), Act, I.P. 46 Gaccha cat us paths

Balimupahara matrbhyah.

6. M.R. Kale (1962) . Act 1.9.24 : Gaccha Tvamap.

catuspathe matrbhyo balimupahara.

7. D. Satvalekar (1973), ch, 45, Vs. 25,27, see also

Kosambi ( 1962) ch. III.

8. Gautam (1973) P. 221.

9. Lorenzen (1972) p. 20.

10. N.N. Bhattacharya (1977) p. 128.

11. Avadhaviharl Trlpathi (1968). Vol. II. ch. 59.V. 19 and

ch. 57. v. 56.

12. The Guhyaslddhikrama in Buddhlsagar sharman (1964)

vol. Lv. p. 109. See note 76 to ch. I.

13. Bombay - Karnatak collection No. 93 of 1940 - 41 .

14. South Indian Inscriptions, vol. lx part - I No., 163.

15. South Indian Inscriptions, vol. ixpi . I No. 139

vol. xi . pt. II, No. 148 etc.

16. Hazra ( 197 5) P. 138.

17. Hara prasad Shastri (1939) p.l.

18. Buddhisagar Sharman (1964) vol. iv. I, pp. 58 ff.

19. Gopinath Kaviraj (1972) p. 136.

20. Bagchi (1939) p. 93.

 393

21. Odisara Tantra Samskruti pp. 204.205.

22. Ibid pp. 206. Thus type of many kinds Dhyanamantras are
given below

{i} Pracanda badanam Gaurlm Pakva bimbadharam priyatq /

Raktambaradharam Bamam sarvakampradam subham //

(ii) Dhyanamantra of Kamesvarl Yogini

Kamesvarlm sansankagyim calatkhafn janalocanam /

Sada lolagatim kanfam kusumastra silimukhlm //

( i i i) Dhyanaman tra of Ratisundarl Yog ini

Subarnnabarnnlm Gourangim sarvilankara Bhusi tam /

Nupurangada haradhyam ramyatp ca pu?karek?anam //

(iv) Dhyanamantra of Padminl YoginT ;

Padmasanaig shyamavarnnanji pinnotunga payodharam /

Komalaftglm Smeramukhlm Raktotpaladalekhanam //

(v) Dhyanamantra of Natinl Yog ini :

Trailokya Mohinim Gaurlm Bl ci trambaradharlnlm /

Bicitralamkrutam Ramyam NartakI VesadharinTm //

(vi) Dhyanaman tra,.of..Mai.thuna.......EriY_|_YoginT_i_

SuddhasphaUkasamkasam nanaratna Bi bhusi tin? /

Magjar7...Harakgyura..Ra tna..kuhiala„mand,i tam_//

23. Athatah SamprabaksyimF YoginT sidhanottamam /

Sarvatha sadhanam nama dehinam sarvasidhidam //

Atiguhya Mahavidyl Debanamapidurllavam //

Yasamabhyarcanam krutvl* Yakghesa abhut Danadhipah //

"Bhutadamara Tantra"
 394

24. For summary of early Orissan political scene see

Dehejia ( 1979) . ch. 1

25. Dehejia (1979) pp. 48 ff.

26. Ibid. p. 1987.

27. Kedarnath Mohapatra (1953) pp. 23-40

28. History of Orissa by K.C. Panigrahi pp. 44.

29. Cunningham (18740 - 75 and 1875 - 76), pp. 128 - 137.

30. Fabrl ( 197 4) . pp. 100 ff. describes the Ranlpjr

Jharial Sculptor as a hackworker, but this Judgement

seems unnecessarily harsh.

31. Dehejla (197 9), p. 138. Inscription : I dam tirtham

Snathva sarva Papa Vimocana, p. 171.