Goddess Kali

Goddess Kali, originally uploaded by firoze shakir photographerno1.

186,302 items / 1,470,839 views

ek ag
ek chingari
ek disha
dikhanewali
bure waqt
buri ghadi
se apni
jan par khel kar
hamari jan
bachanewali
ek ma
saikdo bacche
sabki ma kali
katen patjhad
ko bana deti haryali
har bagh ki ma mali
tute dilon ko jod
dene wali gire huon
ko phir pairon par
kada karnewali
kan kan main
basi hai ma kali


a tribute to ms mamta banerjee on her victory and the victory of people of bengal

en.wikipedia.org/wiki/Kali

Kali (Sanskrit: काली, Bengali: কালী, both Kālī), also known as Kalika (Bengali: কালিকা, Kālikā), is the Hindu goddess associated with eternal energy. The name Kali means "black" but has, by folk etymology, come to mean "force of time (kala)." Kali is today considered the goddess of time and change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation still has some influence. More complex Tantric beliefs sometimes extend her role so far as to be the "ultimate reality" or Brahman. She is also revered as Bhavatarini (literally "redeemer of the universe"). Comparatively recent devotional movements largely conceive Kali as a benevolent mother goddess.

Kali is represented as the consort of god Shiva, on whose body she is often seen standing. She is associated with many other Hindu goddesses like Durga, Bhadrakali, Sati, Rudrani, Parvati and Chamunda. She is the foremost among the Dasa-Mahavidyas, ten fierce Tantric goddesses.[1]


Kālī is the feminine of kāla "black, dark coloured" (per Pāṇini 4.1.42). In the Mundaka Upanishad Kali is mentioned as one of the seven tongues of Agni, the Rigvedic God of Fire (Mundaka Upanishad 2:4), thus giving rise to Kali's tongue, seen in images. It appears as the name of a form of Durga in the Mahabharata 4.195, and as the name of an evil female spirit in Harivamsa 11552.

The homonymous kāla, "appointed time", which depending on context can mean "death", is distinct from kāla "black", but became associated with it through folk etymology. The association is seen in a passage from the Mahābhārata, depicting a female figure who carries away the spirits of slain warriors and animals. She is called kālarātri (which Thomas Coburn, a historian of Sanskrit Goddess literature, translates as "night of death") and also kālī (which, as Coburn notes, can be read here either as a proper name or as a description "the black one").[2]

Kali's association with blackness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) in which he meditates, and with which Kali is also associated, as śmaśāna-kālī.
[edit] Origins

According to David Kinsley, Kali is first mentioned in Hinduism as a distinct goddess, related to war, around 600 CE. Scriptures like Agni Purana and Garuda Purana describe her terrible appearance and associate her with corpses and war. The oldest mention of Kali dates back to Rigvedic age. The 'Ratri Sookta' in rigveda actually calls her as Goddess 'Ratri' and regards Ratri as the Supreme force in the universe. In the Tantras, she is regarded as the Shakti (Power) of The Great Mahakala(a form of Lord Shiva). Her portrayal on dead bodies in crematorium symbolizes her presence in the hearts of devotees who have killed their Earthly desires and want Supreme Consciousness in the lap of the Ultimate Mother, Kali. In another form, she is regarded as the destroyer, the Mahakali as Kali Tantra says-"kali kalanat" meaning Kali is the one who finishes. Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals.[3] In many sources Kali is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kali's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kali vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.[4]

In the Mahanirvana-tantra, Kali is one of the epithets for the primordial sakti, and in one passage Shiva praises her:

At the dissolution of things, it is Kala [Time] Who will devour all, and by reason of this He is called Mahakala [an epithet of Lord Shiva], and since Thou devourest Mahakala Himself, it is Thou who art the Supreme Primordial Kalika. Because Thou devourest Kala, Thou art Kali, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [primordial Kali]. Resuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.[3]

The figure of Kali conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation.[5] This is clear in the work of the Karpuradi-stotra[6], a short praise to Kali describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)

He, O Mahakali who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. 0 Kali, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Sakti [his female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.[5]

The Karpuradi-stotra clearly indicates that Kali is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, who is said to be her spouse, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation.[7] In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.[8]


Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kali is rarely pictured in Hindu mythology and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengali tradition her appearance and habits change little, if at all.[9]

The Tantric approach to Kali is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kali's teachings, adopting the attitude of a child. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Ramprasad's work.[10]

Ramprasad comments in many of his other songs that Kali is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.[11]

To be a child of Kali, Ramprasad asserts, is to be denied of earthly delights and pleasures. Kali is said to not give what is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.[11][12]

A significant portion of Bengali devotional music features Kali as its central theme and is known as Shyama Sangeet. Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyama Sangeet is Pannalal Bhattacharya.

In Bengal, Kali is venerated in the festival Kali Puja - the new moon day of Ashwin month which coincides with Diwali festival.
[edit] Mythology
[edit] Slayer of Raktabija

In Kali's most famous myth, Durga and her assistants, Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons, in an attempt to destroy him. They soon find that they have worsened the situation, as for every drop of blood that is spilt from Raktabija, the demon reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates.[13] Durga, in dire need of help, summons Kali to combat the demons. It is also said that Goddess Durga takes the form of Goddess Kali at this time.

The Devi Mahatmyam describes:

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.[14]

Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain. Her consort Shiva lies among the dead beneath her feet, a representation of Kali commonly seen in her iconography as Daksinakali.[15]

In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda.[16] Chamunda is very often identified with Kali and is very much like her in appearance and habit.[17]