Transcript
Chinnamasta
32.1. Chinnamasta or Chinnamastika or Prachanda Chandika or Chandika the goddess with a severed head is perhaps the most ghastly and disturbing depiction of a Mahavidya. Chinnamasta, standing naked having chopped off her own head with her own sword, holds her decapitated head in one of her hands. Three jets of blood spurt out of her bleeding neck, and one streams into the mouth of her severed head, while two others streams fall into the mouths of her two female associates.Yet Chinnamasta’s face is happy and smiling. 32.2. The origin of Chinnamasta is lost in antiquity. There are many myths associated with her, but are mostly disputed. Whatever be the myths, she came into prominence mainly as Mahavidya with a gory iconography, and as one of the ferocious and frightening aspects of Kali. She has no significant presence outside the Mahavidya cult. However, the Tantric Buddhism has a corresponding deity named Vajrayoni (the power of thunderbolt) a form of Tara, closely related to the goddess with a severed –head Chinnamunda. The Tibetan
Tantric Buddhism believes that severing ones head, not being dead and walking around holding afloat that head in hand is a magical and spiritual ability. According to the Buddhist interpreters, chopping off the head is symbolic and not actual. It signifies discarding the ego and all identities on the way to spiritual awakening, preliminary to attaining Nirvana. It is variously described as symbolic of enlightenment, rising of Kundalini Sakti. The philosophical aspect of Vajrayoni is Prajna parimita. 33.1. Chinnamasta refers to ridding ourselves of false notions and the limitations in which we are bound. Her depiction also helps to overcome self-pity, fear, and pain of death. She stands for essential freedom. This idea of freedom is expressed by her nudity. Chinnamasta is depicted as a girl of sixteen years adorned with garland of skulls and necklaces of bones. She wears on her naked body a serpent as the sacred thread (yajnopavita) and she has full breasts covered by lotus flowers and strings of beads. But the most gruesome aspect of her is that she has cutoff her own head with a sword; and holds in her hands the severed head as also the sword. The blood gushing out of her decapitated head sprouts in three jets. The central jet streams into the mouth of her own head , usually held in her left hand , while the other two jets fall into the mouths of her two companions Dakini and Varnini - standing on her either side.
33.2. She stands against the backdrop of thunder and lightning with her head in hand. She is not dead; but is said to be in a state of amanaska, free from human follies, distractions and sensations of pain etc. The beheaded –head of Chinnamasta is shown ecstatically drinking the central stream of blood flowing out of her headless trunk. It displays three
eyes wide open in joy; and a lovely face lit up with a beatific smile. The hair on the head is disheveled and adorned with fragrant flowers. The head is decorated with a well crafted diadem, as also ear and nose rings. The more amazing sight is that headless naked trunk of Chinnamasta is standing upon a handsome couple engaged in sex in the viparita-maithuna posture (the female on top of her male partner) stretched over a lotus flower. The scene of the activity is a cremation ground set against the background of hills, river, flowers amidst thunder and lightning. The loving couple in each other’s arms, engrossed in sex and blissfully unaware of anything outside their act, are identified Kama or Manamatha the god of desire (like Eros) and his companion Rati the very act of sex. A couple of jackals watch the scene with little interest.There are also depictions where Chinnamasta is riding over a supine Shiva.
33.3. Chinnamasta is described as a goddess red as hibiscus flower, bright as the rising sun. She is usually pictured in red and sometimes in blue. . There are also depictions of her with four arms and without the couple engaged in sex. She is shown riding a lion holding her severed head .
33.4. It is said; Chinnamasta in her classic form is depicted nude (Digambari) as she is unfettered by illusions and other limitations. Her hibiscus blood red complexion symbolizes life in its incessant flow.She wears a garland of severed human heads symbolizing wisdom and power. One of the three jets of blood that spurt from her neck streams back into the mouth of her own severed head, and other two, into those of the yoginis – Dakini and Varnini, suggesting that death nourishes life and thus the process of recycle continues.The copulating couple under the feet of the goddess personifies sexual desire and its experience. The lotus on which the couple lies symbolizes creation and life. Chinnamasta self-destructs to sustain and promote life - in its various forms: the life that the lovemaking couple represents, the death which reveals in decapitating herself and the nourishment which manifests in feeding the flanking yoginis are all integral aspects of life. 34.1. Chinnamasta, in a single frame, makes a stunning presentation of varying and conflicting aspects of life and death; of self destruction while nourishing others; of death by violence and enjoyable sex; of gory violence spilling blood and smiling blissful face; death and destruction placed next to creation; of the joy of transcending the body and not the pain of losing it; and of giving up the ego to attain wisdom. It combines in itself the elements of heroism (vira), terror (bhayanaka) and eroticism (srungara) and portrays, in its
own manner, a composite picture of life where all life-events become intrinsic parts of a unified scheme. It enfolds the entire multiplicity of life. Chinnamasta in her energetic form shows the power of transformation in action. Worship 35.1. Chinnamasta belongs to Kali-kula the family of Kali. She is visualized as residing in a red sun orb (Surya Mandala) in all her glory. Given her fierce form , her worship rituals follow the tantric Vama-marga the left-handed path involving pancha-makaaras [the five Ms of madya (liquor), mamasa (meat) , matsya (fish) , mudra (hallucinating substance) and maithuna (sex)].The worship is carried out in the dead of the night in the cremation grounds. Because of her ferocious nature and the dangers following improper worship, it is said, only the brave ones (vira) should dare venture her worship through vama-marga. Tantrics aspiring for Siddhis (magical powers); or victory over rivals by casting spells or by causing harm usually take up these extreme rituals. It is said, in the olden times the soldiers were initialed into the Chinnamasta cult to enable them gain self-control and to imbibe in them the spirit of self-sacrifice and the courage to face death without fear. Chinnamasta in this context is invoked as Ranjaitri (victorious in war) and celebrated as for her prowess in battles. 35.2. As regards the householders, they are cautioned and advised to contemplate on Chinnamasta only in her abstract esoteric form without being distracted by her fierce iconography. Her worship through softer methods is said to yield: health; wealth; freedom from fear; ability to influence family, friends, women, enemies, and rulers; and liberation. 35.3. Because of her fierce nature and the dangers involved in her worship, it is said; very few temples are dedicated to Chinnamasta. One such few is in the temple-complex of Durga at Ramnagar near Varanasi. Symbolisms and explanations 36.1. The explanations of the symbolisms associated with the horrific image of Chinnamasta abound; there are too many to be countered here. Most of the explanations regard Chinnamasta as the classic imagery of the tantric symbolism. It is said; symbols do not speak directly; and they are not what they appear to be at the outset. Their inner meaning eludes the eye; and is beyond what is ordinarily seen. Tantric imagery cannot be understood by analyzing its art-style, composition etc. However enigmatic they might appear, they bridge mundane and the transcendent. Their real significance lies in their total perception and its association with ones consciousness and Intuitional experience. 36.2. Some say; Chinnamasta’s act of parting with her head – her identity- is one of extreme sacrifice for the good of all, so that the others might live and thrive. If the act of her decapitation is viewed as an act of self-sacrifice, then that selfless acts will not hurt us. Chinnamasta too does not feel the pain; she does not die; and she lives on. Chinnamasta is beyond pain as her decapitated head smiles blissfully.
36.3. The Tantra outlook is based on dualism. It presents alternate phases of creation and destruction; giving and taking of life. Chinnamasta represents both the aspects in her own shocking way. She takes life and vigor from the copulating pair and then gives it by cutting off her own head to feed her followers. Chinnamasta, in her creative and destructive aspects, signifies apparent dissolution and return to the elements. She also represents the integral nature of life where living, nourishing; sex, violence, death and regeneration are all essential aspects and are intertwined. 37.1. Chinnamasta is the thunder goddess. With a flash of lightning and thunder she destroys ignorance, severs identity with the physical body.She is about direct perception and regaining freedom. . 37.2. She is also seen as symbol of self-control, fearlessness and embodiment of sexual energy. While another explanation mentions : as she steps on and stands on top of the couple in the act of sex she overcomes sexual desire and untamed nature. Chinnamasta is in control of the creative urge. If she wishes to give expression to that she does spontaneously; else she could suppress all urges. She is the Supreme Yogi. 37.3. Another explanation based in yoga says that the tantric tradition uses body in ritual exercises. The figure of Chinnamasta suggest that the practitioner must remove his or her analytical head, give away the concerns with physical life, and divert his energy to move up from muladhara to a higher state . Chinnamasta is a representation of the awakening of the kundalini. The chopped-off head may also represent non-mind (unmana) or the state freed from limitations of mind. Chinnamasta awakens consciousness. Guptadurge Mahabhage Guptapaapapranashini Saptajanmaarjitat Paapaat Traahi Maam Saranagatam
Om Shrim Hreem Hreem Aim Vajra Vairochaniye Shrim Hreem Hreem Phat Svaha
