The most common number is 64. The Chausat Yogini temples, considered to be associated with tantric sects, are found in eastern India. The most well known are in Bhedaghat (near Jabalpur), Hirapur (near Bhubaneswar) and Mitaoli (near Gwalior). The circular Mitaoli temple is popularly considered as an inspiration for the Parliament building, though there is no firm evidence for it.

The simplest and common usage of the term Yogini is as the female counterpart of Yogi. She is a woman who follows the path of yoga bodily and spiritual discipline. They are also often interpreted as sorceress who are feared.

The picture is of Mitaoli temple near Morena and Gwalior in Madhya Pradesh

Source: The Yogini Temples of India. Vidya Dehejia

Picture Credit: S R Ramanujam

Shitala devi is invoked to ward off diseases. She is particularly invoked to seek a cure from small pox even as her anger can bring it on. Sitala Devi is revered in Bengal and north India in general and small pox is referred to as her grace. Devi is also worshipepd as Mariamma in Tamil Nadu.

Scholars opine that worshipping Sitala and to pay attention to what she represents provides oneself with a more realistic and less fragile view of life. This makes the inevitable outburst of diseases or tragedy less devastating.

The picture is that of Shitala Devi in Mahim, Mumbai. Though it is only a niche within the much older and larger Radha Rukmini complex, the temple is known as Shitala Devi temple.

Source: Animals and Hinduism – Nivedita Krishna

Hindu Goddesses. David Kinsley.

Picture Credit: S R Ramanujam

The navapatrika ceremony of Durga Puja personifies the vegetation spirit of Devi. Nine leaves of various plants are bound together and worshipped as Devi. The nine plants are plantain tree, colocasia, turmeric, barley, wood apple, pomegranate, asoka, mana and paddy. Each plant represents a Devi. These nine forms of Devi can be described as Navadurgas.

Source: Jitendra Nath Banerjee. The Evolution of Hindu Iconography

Picture Credit: India Scanner

Raj Jat is the “Royal Procession” of the goddess Nanda Devi through the mountains of Uttarakhand. It is over a duration of 19 days and is conducted every 12 years (though not always). Goddess Nanda Devi leaves her home at Nauti near Karnaprayag and travels through Roopkund to her in law’s home at Hom Kund at a height of 5200 mts. A sheep leads the procession and rests beside the Goddess’s palanquin during the intervening campsites.

Interestingly, Mahalaya, which marks the commencement of Durga Puja, is interpreted as the great journey in Bengal. It is the journey of the Devi from Himalayas to Her father’s house. In Bengal and other eastern parts of India, Durga Puja is celebrated as the homecoming of Maa Durga and Her children to Her maternal house, “maika.”

Source: Nanda Raj Jat: Mahakumbha of Uttaranchal. Rakesh K Maikhuri et al.

Picture Credit: vaibs_14oct flickr.com

Golu or Kolu is an arrangement of dolls in a multi tiered staircase during Navaratri. This is popular in Tamil Nadu and in other southern States. The arrangement of dolls starts with that of a couple made of wood (marappachi) which is at the top tier. Various dolls of divnities and saints are arranged in other tiers as the arrangement proceeds towards the lowermost tier. At the ground level earthly scenes are depicted through dolls. Apart from the divinities there is a lot of freedom on which dolls to keep.

The festival season marks an eye catching display of clay dolls in bright colours. Kolu is considered a family tradition and once started, it is believed that it should not be discontinued.

Source: Various Sources

Picture Credit: Vijayakrishnan WikiCommons

Bathukamma is a beautiful flower stack, arranged with different unique seasonal flowers most of them with medicinal values, in seven concentric layers in the shape of temple gopuram. In Telugu, “Bathukamma” means “Mother Goddess come Alive” and Goddess Maha Gauri-Life Giver is worshipped in the form of Bathukamma  the patron goddess of womanhood.

Preparing a Bathukamma is a folk art. Women start preparing Bathukamma from the afternoon. They cut the flowers leaving the little length base. Some dip Gunugu (Celosia) flowers in various vibrant colours. They arrange them on a wide plate called thambalam spread with big leaves. The flowers are stacked up in a conical mound, filling the cone with leaves and stems of the flower stalks. The arrangement is decorated with a Lotus or Pumpkin Flower on top of the stack along with Gouramma (a symbolic idol of Gowri made of turmeric).

Government of Telangana has declared the Bathukamma Festival as a state festival. The picture is that of a bathukamma of height more than 20 feet competing for a guinness record.

Source: EPTRI: ENVIS Centre

Picture Credit: Telangana Tourism and Zee Telugu

The word “Ayutham”  literally means weapons, refers here to “tools of trade.” It has a great significance for factory workers, mechanics and for anyone who works with tools. People clean up the tools and machines and apply turmeric and kumkum. It is common to see all cars and motorcycles also cleaned and garlanded. All mechanical, electrical and hand tools are worshipped as they are a source of living.

People in South India also worship books, musical instruments & stationery  observing the day as Saraswati Puja.

In Karnataka this is also associated with the day in which Pandavas reclaimed their weapons which they had hidden in a tree before proceeding for their exile. This is another example of integration of Shakti tradition with a great epic, Mahabaratha.

The picture is of a hospital operation theatre being worshipped during Ayudha Pooja.

Source: Various Sources

Picture Credit: Dr Anil Bhat Twitter

Birendra Krishna Bhadra (1905-91) used to work for All India Radio. In 1931, AIR (Calcutta) broadcast a radio programme known as “Mahisasura Mardini” at 4am on day of Mahalaya. This had a combination of songs, vocal renditions of the story and chants of Sanskrit shlokas. The shlokas were primarily from the “Devi Mahtmaya” section of Markandeya Purana, known in Bengal as “Chandi.”

More than the script & songs, it was Bhadra’s voice which was a roaring success. Originally a live performance, a pre recorded version was broadcast since 1966. So successful was this that an attempt in 1976 to replace Bhadra’s voice with even that of Bengali movie superstar Uttam Kumar backfired, and the Bhadra version was brought back.

The rendition continues to be played on Mahalaya even now and is now synonymous with Durga Puja.

Source: When Devi Comes home. Bibek Debroy and Anuradha Goyal.

Picture Credit: Prasar Bharati

The Utsava murti, the representation of the deity is placed in a makhar. The makhar is a swing of elaborate woodwork or silver which is decorated with coloured papers, mirrors, intricate beadwork, embriodery and colourful flowers. The objective is to create a peaceful or joyous environment for the deities, resembling the swing of a child.

Source: When Devi Comes home. Bibek Debroy and Anuradha Goyal.

Picture Credit: Soul Travelling

Navratri is the biggest festival of Nepal and is celebrated over 15 days. A Dashain Kotha or any secluded corner in the house is readied. The floor cleaned with a paste of cow dung and clay and the area is darkened with thick curtains. The Goddess is worshipped in a secretive and almost tantric manner in this Dashain Ghar. All the rituals for the nine days would be done by male elders of the family or a hired priest. Like in other places, there are community celebration encompassing varied practices like fasting, bali (animal sacrifice) & meat eating, Kanya puja, tool worship and community dancing.

On Dussehrah and afterwards, elders apply Tika, a mix of vermillion, curd and rice on the foreheads of their younger ones. This is an important ritual and people travel to all their relatives to receive the Tika.

Source: When Devi Comes home. Bibek Debroy and Anuradha Goyal.

Picture Credit: Ajay Kumar Shrestha WikiCommons

Jagat Singh of Kulu is believed to have been instrumental in bringing a small metal image of Rama from Ayodhya to his royal palace. The deity is Raghunathji and is considered to be the Raja of the entire district. Every year, on Dussehrah day, all the village devis and devtas of Kulu district arrive in Kulu to pay respects to Raghunathji.

The deities take the form of mohra masks carried in richly decorated rathas, sometime simple karadu baskets. They are accompanied by the priests, shamans and devotees on foot. They first arrive at the royal palace to pay their respects to Raghunathji. Then they move to the Dhaulpur plain where each devta is assigned a specific place where they camp for the next ten days. An image of Raghunathji is installed in the ratha in the maidan and the ratha is pulled to its designated spot in the Maidan. Each day is celebrated with song and Natti dance to greet the deities. The Raja routinely enquires the deotas about their comfort and well being. On the last day, the Rath Yatra of Raghunathji is performed. A traditional sacrifice of five animals called panchabali is carried out.

This festival has been going on for more than 350 years with only occassional interruption.

Source: Dussehrah of Kullu. Karuna Goswamy

Picture Credit: S. R. Ramanujam

It is also known as Rama Navratri because the ninth day of this festival is also celebrated as Rama Navami, the day Shri Rama was born in Ayodhya in Treta Yuga.

In some parts like Himachal Pradesh and Rajasthan Vasanta Navratri is more popular than Sharada Navratri. The beginning of the Chaitra Navratri is also the new year day, Ugadi in Andhra and Karnataka, as Gudi Padwa in Maharashtra and Navreh in Kashmir.

The picture is a celebration of Chaitra Navaratri in Mata Longa Wali Devi mandir in Amritsar, Punjab

Source: When Devi Comes home. Bibek Debroy and Anuradha Goyal.

Picture Credit: Outlook

Each of the three days symbolically represent the liberation of humans. The first three days are dedicated to Durga or Kali; the last three days are dedicated to Saraswati and the middle three days are dedicated to Lakshmi (Raja Rajeshwari).

Symbolically, in the first three days the devilish tendencies within us have been won over with the help of Durga.

With the ensuing peace of mind, in the middle three days, with the help of Lakshmi, the organisation of order and security and divine wealth is achieved. Divine wealth is not material wealth that we associate with Lakshmi normally. It refers to Love, Charity, Kindness, Devotion, Peace, Trnquility, Honesty, Courage, Faith and desire for liberation.

In the last three days, with the help of Saraswati, Sat-Chit-Ananda, the last stage in evolution is achieved. This represents absolute knowledge, absolute existence and absolute bliss.

Source: Glory of the Mother: Chinmaya Mission

Picture Credit: Isha Foundation

The nine days of worship of Devi in her three aspects of Kali, Lakshmi and Saraswati has its base in Markandeya Purana. It consists of 700 mantras. It talks about Devi overwhelming asuras like Madhu-Kaitabha, Mahishasura and Shumba-Nishumbha. It was narrated by Rishi Sumedhas to King Suradha and trader Samadhi, who had lost their kingdom and wealth respectively, and who had sought remedy for their sorrows.

This is one of the most important books for Devi devotees. The very presence of this book in the house is considered to have the power to ward off all evil spirits. In ancient days the faithful ones carried this book with them during long journeys to ward off all dangers.

Source: Glory of the Mother. Chinmaya Mission.

Picture Credit: Gita Press

Navratri falls in the months of Devi’s sleep and She was woken up for untimely worship. Kalika Purana, a minor Purana, notes that Brahma woke the Devi by using the branches of a bilva tree to show favour to Rama and to ensure destruction of Ravana.

Akala Bodhan is related to Bengali tradition of Shardiya Durga puja. This story was retold in the Bengali retelling of Ramayana, the Krittivasi Ramayana by Krittibas Ojha composed in 15th century CE. Thus it became widespread in Bengal and surrounding areas. This shows how different Hindu traditions (the Ramayana & Shakti traditions in this case) intersect and are integrated in a historical process of assimilation.

Source: When Devi Comes home. Bibek Debroy and Anuradha Goyal.

Picture Credit: Statesman

Kanishka ruled over North West India upto Mathura, Afghanistan & parts of Central Asia in 1st/2nd CE. In his Rabatak inscription in Afghanistan, he invokes Nana and mentions that the kingship is derived from Nana. Nana is a bactrian female divinity and is shown, like Durga, seated on a lion. The Rig Veda uses Nana as one of the names of the Goddess. The ancient Sogdians from central Asia called the Mother Goddess Nana Devi Amba. Amba is a commonly used name for the Devi even today. Ambala, the town in Haryana takes its name from Devi Amba.

Source: When Devi Comes home. Bibek Debroy and Anuradha Goyal.

Picture Credit: WikiCommons

A seal from Mohenjodaro shows in its top right corner a schematised figure with a long pigtail and horned head-dress. It stands in between the trunks of a tree and is fronted to the left by a kneeling supplicant who is followed by an animal, possibly a unicorn. The lower panel shows a row of seven standing figures identical to the figure standing inside the trunks of the tree. Some kind of personification of a tree deity can certainly be envisaged in this case. Furthermore, the row of seven deities suggests the concept of Saptamatrikas or “seven mothers” known to Hinduism, and thus the tree deity itself is likely to be a female deity. Several mother Goddess images have also been unearthed in Harappan sites.

Saptamatrikas are common across India. In Kerala temples, Saptamatrikas are also depicted as a set of small discs on a stone platform. The second picture is an example from Sri Chandramouleeshwara temple in Udupi, just opposite the famous Udupi Sri Krishna temple. Each of the circular discus in the bottom row represent one of the mothers.

Source: Archaeology and World Religion-Routledge (2001) DK Chakrabarti

Picture Credit: Harappa.com

S.R. Ramanujam

Baghor is within 100 kms of Ganga and very close to Prayagraj. In 1982, a team of archaeologists found a heap of discarded stones on a circular rubble platform. In the middle of the rubble was a bright stone with concentric triangles, but broken. They found most of the broken pieces near the rubble itself. When the workers saw the unusual stone they dropped the tools and stopped digging. “This is our Devi!” they said. The excavating team did not take them seriously. But the local people too immediately recognised the rubble and the stone as their Devi. One was upset that the digging team had broken the stone. When they told him that they had actually dug this out and it is ancient, he immediately fell on the ground and did a pranam to the stone.

The site watchman took the team to his house. He had built a small shrine for Devi near his house which looked exactly like the one they had discovered. A sandstone rubble; a bright stone with concentric triangular pattern in the middle. Then the team also saw a temple called Kerai ki Devi which had a similar form of worship. As they looked around, they saw more and more of similar forms of worship in the area.

The team then recognised the significance of what they had found. They had known that the Baghor site is very ancient. It belonged to a period between two other layers which had been dated. This gave a time period of 9000 BC to 8000 BC to the Devi shrine. A practice of worship that was prevalent 11,000 years ago and which continues till date.

The picture that you see here, with the answer, is the present day shrine, which looks remarkably similar to what was unearthed.

Source: Archaeology and World Religion-Routledge (2001) DK Chakrabarti.

Interview with Prof Jagannath Pal, Ex Allahabad University

Antiquity. An Upper Paleolithic Shrine in India? J.M. Kenoyer, J.D. Clark, J.N.Pal, G.R. Sharma

Picture Credit: J.M. Kenoyer

The sculpture you see is from the Mathura museum. It is the best preserved from a group of eight sculptures that were discovered at the bottom of a well. They were all badly eroded. They are made of red sandstone characteristic of Mathura region and none are more than 20cm high. They have been dated to the Kushana period. In this sculpture, Mahisasurmardini is shown killing the Buffalo Mahisasur with her hands by pressing it on its back and choking its neck.

Source: The Goddess Mashishasuramardini in Kushana Art. Odette Viennot

Picture Credit: Odette Viennot

The Devi Sukta is the first literary evidence of Devi worship and is in the tenth mandala of Rig Veda. This is one of the rare hymns of Rig Veda that are in first person (Indra is the speaker in other first person hymns).

Devi Sukta concludes by saying

” I myself blow forth like the wind
Grasping all living beings
Beyond heaven, beyond this earth
Such I have become through my greatness”

It is generally believed that the Vedas had a male centric pantheon of Gods like Indra or Varuna with Goddesses shown mostly as consorts like Usha or Prithvi. Devi worship is also widely said to be non Vedic in origin. Yet the Rig Veda characterizes the Goddess as the “sovereign” divinity.

Source: Devi Sukta. Kshitish Chandra Chatterjee.

When Devi Comes home. Bibek Debroy and Anuradha Goyal.

Picture Credit: Ms Sarah Welch. WikiCommons.