64 Yogini
64 Yogini
http://www.mahavidya.ca/yoga/the-64-yoginis/ In the Hindu religion Yoginis are females credited with magical powers (Kinsley 287). The history surrounding the yoginis is scarce and can vary from source to source. Consensus is that the cult first appeared around the sixth to seventh century (Gadon 33). The cult did not begin to thrive however, until the ninth century and stayed fairly popular through to the twelfth century (Gadon 33).According to the scholar Vidya Dehejia, the roots of Yogini worship are outside the normal orthodox Brahmanical traditions. The Yogini traditions are tantric in nature and therefore have strong connections to rural and tribal traditions (Donaldson 617). The origin of the Yoginis appears to be in small, rural villages (Dehejia 1). They are local village goddesses, grama devatas, who look over the welfare of an individual village (Dehejia 1). Through Tantrism, these local deities were able to gain new forms and vitality as a group of goddesses who could impart magical powers to their worshippers (Dehejia 2). These powers included: anima (the ability to become very small),laghima (the power to levitate and to be able to leave your body at will), garima (the power to become very heavy), mahima (the power to become large in size), istiva (the power to control the body and mind of oneself and others), parakamya (the power to make others do your biding),vasitva (the power to control the five elements) and kamavasayitva (the power to be able to fulfill all your desires) (Dehejia 53). Village goddesses progressively transformed and merged into powerful numerical groupings (Dehejia 1-2). The numerical groupings associated with the yoginis vary from text to text, but the most common grouping is sixty-four (Donaldson 620). There are very few references to yoginis being alone (Donaldson 633). The numbers eight, twelve, sixteen and sixtyfour seem to elevate the yoginis to a higher status (Donaldson 633). The number eight is considered to be very auspicious and have great potency and within the Hindu religion (Dehejia 44). As the square of eight, sixty-four, has even more power and is considered to be extremely auspicious in Tantric literature (Donaldson 633). When the Yoginis are divided into groups of eight it is, usually, to associate each group with a separate deity (Donaldson 634). The groups usually take on the attributes of whichever deity they are connected with (Donaldson 634). Although the grouping of the yoginis into sixty-four is fairly uniform throughout the literature, their names, descriptions and characteristics are not (Donaldson 620). The cult of the yoginis is often associated with a sense of fear and awe because the yoginis are sculpted with demonic expressions or other dark attributes (Gadon 33). When the yoginis are depicted in sculpture or described in text they often have the heads of various birds such as: parrots, hawks, peacocks, eagles, pigeons, and owls (Kinsley 197). They were also carved with characteristics from other animals (Donaldson 619). These include: the frog, elephant, jackal, goat, ox, cat, tiger, horse, and snake (Donaldson 619). Along with having the qualities of birds and other animals, the yoginis are repeatedly talked about as having severed heads in their hands or scattered around their feet (Gadon 33). In one story from the Padna Purana, the yoginis are called by Siva to consume heaps of flesh from a demon head that Siva has severed (Donaldson 622-623). This story talks of how they rejoiced after eating the flesh and drinking the blood of the demon, and describes them as having enormous bodies and sharp fangs (Donaldson 623).Yoginis are occasionally depicted with numerous arms, anywhere from four to eight (Donaldson 640). There are four main traditions that are associated with the cult of the yoginis and how they developed from their tribal beginnings and became integrated into orthodox beliefs (Donaldson 618). All four of the traditions revolve around the idea that the yoginis were minor divinities to greater goddesses. The first tradition is the idea of the yoginis as aspects of the Devi or Great Goddess (Donaldson 618). The yoginis were said to be formed from different parts of the Devi, including: her voice, sweat, navel, forehead, cheeks, lips, ears, limbs, toe nails, womb, and her anger (Donaldson 618). The second tradition is the idea that the yoginis are attendant deities of the Great Goddess (Donaldson 618). This tradition is thought to have developed from earlier tradition of Siva and her gana attendants (Donaldson 619). The third tradition focuses on the yoginis as acolytes of the Great Goddess: the matrkas (Donaldson 618). This tradition describes the yoginisas being born of eight mothers and formed into eight groups (Donaldson
622). The fourth and final tradition centers on the thought of the yoginis as patrons of the goddess of the Kaulas (Donaldson 618). Through the scrutiny of numerous Tantric texts, the yogini cult became associated with a specific Tantric sect called the Kaulas (Donaldson 623). Exploring the yogini temples has been the best way of gathering information about the cult, its practices, and their appearances. Each yogini temple reflects the unique traditions of the area that it is located in (Dehejia 94). This, therefore, leads to many different intepretations of the cult (Dehejia 94). There are certain aspects of the temples that are common. Most of the yogini temples are located in remote areas. For example, the temple of Ranipur-Jharial is located several miles away from the nearest town (Dehejia 103). The temple of Hirapur is extremly isolated, with the only way to access it being through one small dirt lane (Gadon 33). Another common feature among the temples is that they are usually formed in the shape of a circle. Both the Ranipur-Jaharial Temple and the Hiarapur Temple are formed in circles (Donaldson 666, 669). While this information describes the consensus of Hindu scholars there are few definitive texts that contain concrete information about the cult or its goddesses (Donaldson 624). Yogini namavalis (name-lists) stand in isolation, neither preceded nor followed by any explanatory verses on the worship or status of these deities. (Dehejia 31). The Puranic and Tantric texts that do speak of the yogini cult, have made it clear that the reason these goddesses were worshipped was to gain an array of occult powers (Dehejia 53). Many Kaula texts refer to the fact that the followers of Kaula believe in the yoginis and will receive blessings from the yoginis in return for their worship(Donaldson 624). The texts also make reference to how those that do not follow the tradition of the yogini cult will be cursed (Donaldson 624). Tantras that speak of yoginis, reiterate that this is a highly secret, hidden knowledge that was to be divulged only to initiates(Dehejia 31). Bibliography Dehejia, Vidya (1986) Yogini, Cult and Temples: A Tantric Tradition. New Delhi: National Museum.Donaldson, Thomas E. (2002) Tantra and Sakta Art of Orissa. New Delhi: D.K. Printworld Ltd.Gadon, E. W. (2002). Probing the mysteries of the Hirapur Yoginis. ReVision, 25, 1. p.33(9). Kinsley, David (1998) Tantric Visions of the Divine Female: The Ten Mayavidyas. Berkeley:University of California Press. Related Websites http://www.khandro.net/dakini_the64.htm http://orissagov.nic.in/emagazine/Orissareview/oct2004/englishPdf/originoftantricism.pdf
http://texts.00.gs/64-Yogini-s,_sets_of.htm
64 Yogini-s, sets of
1.---------------------------------2.---------------------------------3.--------------------------------5. 1. Brahman.i 2. Can.d.ika 3. Raudri 4. Gauri 5. Indran.i 6. Kaumari 1. B 2. C 3. R 4. G 5. I 6. K 7. Bhairavi 8. Dus-ga 9. Nara-sim.hi 10. Kalika 11. Ca-mun.d.a 12. S`iva-duti 13. Varahi 14. Kaus`iki 15. Maha-is`vari 16. S`ankari 17. Jayanti 18. Sarva-mangala 19. Kali 8. D 9. N 10. K 11. C 12. S` 13. V 14. K 15. Maha ... 16. S` 17. J 18. S 19. K 20. Karalini 21. Medha 22. S`iva 23. S`aka-ambari 24. Bhima 25. S`anta 26. Bhramari 27. Rudran.i 28. Ambika 29. Ks.ama 30. Dhatri 21. M 22. S` 23. S` 24. Bh 25. S` 26. Bh 28. R 29. A 30. K 31.Dhatri 28. K 29. Dhatri 21. S` 22. S` 23. Bh 24. S` 25. Bh 26. R 6. Bh 18. R 3. S`aka-ambhari 4. Bh 19. K 1. 2. C 3. R 4. G 5. I 6. K 7. Bh 8. D 9. N 10. K 11. C 12. S` 13. V 14. K 15. Maha ... 16. S` 17. J 18. S [51. S] 60. V 56. K 54. B
31. Svaha 32. Svadha 33. Parn.a 34. Maha-udari 35. Ghora-rupa 36. Maha-kali 37. Bhadra-kali
32. S 33. S
28. M 30. Gh
39. Ks.ema-kari
39. Ks.eman-kari
47. Priyan-kari 48. Bala-vikarin.i 49. Balapramanthani 50. Madanaunmanthani 51. Sarva-bhuta-damani 52. Uma 53. Tara 54. Maha-nidra 55. Vijaya 56. Jaya 57. S`aila-putri 62. Kus.man.d.i 63. Katya-ayani
45. P
51. S
50. Sarva-bhuta-damari
52. U 53. T 54. M 55. V 56. J 57. S` 60. Kus.man.d.i 62. K 63. Kala-ratri
51. U 52. T 53. M 54. V 55. J 56. S`aila-puri 60. Kus.man.d.a 62. K 63. K 64. M
64. Maha-gauri
64. M
13.-------------------------------14.-------------------------------15.------------------------------16. 1. A-ks.obhya 2. R.ks.a-karn.i 3. Raks.asi 4. Ks.upan.a 5. Ks.aya 1. A 2.R. 3. R 4. Ks.apan.a 5. K 1. A 2. R. 3. R 4. Ks.apan.a 5. K 1. A 2. R. 3. R 4. Ks.apa 5. K
6. P 7. A
10. Lila 10. Nila-laya 11. Lola 11. Laya 12. L 13. Lanka 14. Lanka-is`vari 14. Lalasa 15. Vimala 16. Huta-ahs`a 17. Vis`ala-aks.i 18. Hun-kari 19. Vad.ava-mukhi 15. L 16. V 17. Huta-as`ana 18. V 19. Hum-kara 20. V 21. Ha-ha-rava 20. Maha-krura 21. Krodhana 22. Bhayan-kari 23. Maha-anana 24. Sarva-jn~a 25. Tarala 26. Tara 27. R.c-veda 28. Haya-anana 30. Rudrasamgrahi 31. S`ambara 32. Tala-janghika 33. Rakta-aks.i 35. Vidyut-jihva 36. Karankini 37. Megha-nada 38. Pracan.d.augra 39. Kala-karn.i 29. H 30. Rasa ... 32. S`abara 33. Talu-jihvika 34. R 35. V 36. K 37. M 38. P 39. K 22. M 23.K 24. Bhaya-anana 25. S 26. T 27. T
10. Lila-vati 11. L 12. L 13. L 14. L 15. L 16. V 17. Huta-as`a 18. V 19. Hum-kara 20. V 21. H 22. M 23. K 24. Bhaya-anana 25. S 26. T 27. T 28. R. 29. H
11. L
15. L
16. V 17. Huta-as`ani 18. Vid.ala ... 19. Hum-kari 20. Vad.va ...
28. R.
33. Tala-jangha
35. V
40. Vara-prada 41. Candra 42. Candra-avali 43. Prapan~ca 44. Pralayantika
40. Vara-prada 41. Candra 42. Candra-avala 43. P 44. P 41. Campaka 42. Campa-avati 43. P 44. Pralayanta 45. Picu-vaktra 46. P 47. Pis`ita-asava-lolupa 48. Vamani
45. Picu-vaktra 46. Pis`a-aci 47. Pis`ita-as`a 48. Lolupa 49. Dhamani 50. Tapani 52. Vikr.ta-anana 53. Vayu-vega 54. Br.had-kuks.i 55. Vikr.ta 56. Vis`va-rupika 57. Yama-jihva 58. Jayanti 59. Dus-jaya 60. Jayantika 61. Bid.ali 62. Revati 63. Putana 64. Vijayantika 46.P 47. P 48. Lolupa 49. Vamani 50. T 52. V 53. Vayu-vegika 54. B 55. V 56. V 57. Y 58. J 59. D 60. Yamangika 61. Vid.ali 62. R 63. P 64. V
45. Picu-vakra 46. P 47. P 48. Lolupa 49. Vamana 50. T 52.V 53. Vayu-vega 54. B 55. V 56. Vis`va-rupa 57. Y 58. J 59. D 60. Avantika 61. V 62. R 63. Pretana 64. Jayantika
51. V 52. V
54. Vicitra 55. Vis`va-rupin.i 56. Y 58. J 59. D 60. Yamantika 62. V
64. Putana
18.-------------------------------19.-------------------------------20.------------------------------25. 1. Divya-yogini 2. Maha-yogini 3. Siddha-yogini 4. Gan.a-is`vari 6. D.akini 7. Kali 8. Kala-ratri 9. Nis`acari 1. D 2. M 3. S 4. G 6. D. 7. Kalini 8. K 9. N 1. Divya-yogi 2. Maha-yogi 3. Siddha-yogi 4. Maha-is`vari 6. D. 7. Kali 8. K 9. N 7. K 8. N 1. Divya-yoga 2. Maha-yoga 3. Siddha-yoga 4. M 6. D.
20. V 21. Vira-bhadra 18. Vira-bhadrais`i 19. Dhumra-angi 20. Kalaha-priya 21. Raks.asi 22. Ghora-rakta-aks.i 23. Vis`va-rupi 24. Bh 25. Vira-kaumari 26. Can.d.i 27. V 28. Rupa-dharin.i 29. Bhaya-asuri 30. Raudra ... 31. Bhis.an.i 37. Tripura-antaka 32. Tripura-antaki 38. Bhai-ravi 39. Dhvamsini 33. Bhayavidhvamsini 34. Krodhi 35. D 36. P 37. Khangini 38. D 36. Kridha-dus-mukhi 37. P 38. Khatvanga-dirgha-lambos.t.i [28. Bhis.an.a] [29. Tripuraantaka] 34. Bhai-ravi 18. Vira-bhadra 19. Dhumra-aks.i 20. Kalaha-priya 22. Raks.asi 23. Ghora 21. Rakta-aks.i 24. Vis`va-rupa 25. Bh 30. Vira-kaumarika 31. Chan.d.i 32. V 33. M
22. Dh 23. Kalaha-priya 24. Raks.asi 25. Ghora 26. Rakta-aks.i 27. Vis`va-rupa
25. Bhayam-kari 26. Vira 27. Kaumarika 28. Can.d.i 29. Varahi 30. Mun.d.adharin.i
28. Bh [30. Nira] [31. Kaumari] 29. Can.d.ika 32. V 33. M 34. Asura 35. Raudra ...
33. Krodha 34. Dus-mukhi 35. Preta-vahini 36. Kant.aki 37. Dirgha-
lambos.t.i 38. Malini 39. Mantra-yogini 40. Kalini 45. M 46. M 47. Kala-agnihani 42. Cakri 43. Kankali 44. Bhuvanais`vari 48. K 49. Bh 44. Bh 45. Kant.aki 45. Krubhala 46. Taluki 48. Yama-duti 49. Karalini 56. Ka-muki 50. Tratini 51. Y 52. K 54. Kar-muki 55. Kaka-dr.s.t.i 56. Adhas-mukhi 57. Mun.d.a-agra-dharin.i 57. Vyaghri 58. Kinkini 59. Preta-bhus.in.i 60. Dus-jat.i 61. Vikati 62. Ghori 59. Preta-bhaks.ini 58. V 59. Kinkin.i 60. Pretabhaks.in.i 61. D 62. Vikat.i 63. Ghora-kapali 64. Vis.a-bhaks.in.i reference: Vidya Dehejia: Yogini Cult and Temples. National Museum, New Delhi, 1986. pp. 194 to 195 1 = Kalika Puran.a, chapter 63 2 = Durga Puja 3 = Maha-kala Samhita p. 196 62. Ghora 63. Kapali 64. Vis`a-bhojini 60. D 46. Trota ... 47. Y 48. K 54. Kaika-muki 55. K 56. A 57. M 49. Kriya-duti 50 K 56. Ka-mukhi 58. K 59. A 39. M 40. M 41. Sa-kala-grahin.i 42. Cakrin.i 43. Graha 42. Cakrin.i 44. K 45. Bh 47. K 48. S`ubhra [61. M] 39. Malati 40. M
5 = Br.had-nandi-kes`vara Puran.a pp. 205 to 209 13 = Agni Puran.a, chapter 52 14 = Catur-varga Cinta-man.i, Virat.a khan.d.a, chapter 1 15 = Pratis.t.ha Laks.an.a Sara Samuccaya, chapter 7, verses 327 to 400 16 = Mata-uttara Tantra, chapter 20 pp. 210 to 211 18 = Jaipur MS., A.D. 1501 19 = Catus.as.t.i-yogini Namavali 20 = Catus.as.t.i-yogini Pujan p. 214 25 = Tattva-nidhi -------------------------------------------------------------------------------------------------------------------------------------------the names of the 64 Yogini-s in chapter 45, verses 34-41, of the Purva-ardha of the Kas`i-khan.d.a of the Skanda Puran.a # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 name Gaja-anana Simha-mukhi Gr.dhra-asya Kaka-tun.d.ika Us.t.ra-griva Haya-griva Varahi S`arabha-anana Ulukika S`iva-arava Mayuri Vikat.a-anana As.t.a-vakra Kot.a-raks.i Kubja meaning elephant-face lion-mouth vulture-face crow-beaked camel-neck horse [originally, "giraffe"?] swine s`arabha-face little owl corpse-howler peafowl monstrous face eight-snouts fort-defending hunchbacked
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49
Vikat.a-locana S`us.ka-udari Lalaj-jihva S`va-dams.t.ra Vanara-anana R.ks.a-aks.i Kekara-aks.i Br.hat-tun.d.a Sura-priya Kapala-hasta Rakta-aks.i S`uki S`yeni Kapotika Pas`a-hasta Dan.d.a-hasta Pra-can.d.a Can.d.avikrama S`is`u-ghni Papa-hantri Kali Rudhira-payini Vasa-dhaya Garbha-bhaks.a S`ava-hasta Antra-malini Sthula-kes`i Br.hat-kuks.i Sarpa-asya Preta-vahana Danda-s`uka-kara Kraun~ci Mr.ga-s`irs.a Vr.s.a-anana Vyatta-asya
monstrous eye shrivelled belly lolling tongue hound-fang monkey-face bear-eyed squint-eyed big beak wine-pleased skull [stuck to] hand blood-eyed parrot hawk little pigeon fetter hand rod hand ferocious fiercestepping child-killing sin-killer black / time ruddy fluid marrow-sipping embryo-enjoyer corpse-hand guts-wreathed coarse hair big belly serpent-face ghost-vehicle rod parrot making curlew deer-head ox-face open-mouthed face
50 51 52 53 54 55 56 57 58 59 60 61 62 63 64
Dhuma-nih.s`vasa Vyoma-eka-caran.a Urdhva-dhr.k Tapani-dr.s.t.i S`os.ani-dr.s.t.i Kot.ari Sthula-nasika Vidyut-prabha Balaka-asya Marjari Kat.a-putana At.t.a-at.t.a-hasa Kama-aks.i Mr.ga-aks.i Mr.ga-locana
smoke-sighing sky single foot upright support heating sight drying sight hollow huge-nosed lightning light childish face cat hip putrified raucous laughter desire-eyed deer-eyed deer-eye
ANCIENT INDIAN TRADITION AND MYTHOLOGY SERIES, Vol. 59 = G. V. Tagare (tr.): The Skanda Puran.a, Part. X. Motilal Banarsidass, Delhi, 1996. [pp. 494-495]
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There are nine oblong niches on the outer perimeter wall of the temple as is eveident from the above picture. There are 9 Katyayanis in these niches in various forms.
Katyayani-1: one of the Katyayanis on the outer perimeter wall Similarly there are 7 more such katyayanis on the outer perimeter wall. If one observes very carefully, at the base of these statues, one would see a severed head, sometimes a jackal or a dog or a pig-normally interpreted to be the animals found near dead bodies or carcasses, and almost all the Katyayanis hold different types of blades as if raised to dismember or behead. The significance of this is beyond my comprehension as I write this document but I some how have a hunch that they had been installed to act as directional notional security points of what was intended to take place inside the temple. As one apporaches the entrance facing east, it is evident that the entrance is a very narrow entrance which opens up inside into a circular structure.On both sides of the entrance, one finds the Dwarapalas and on the inner walls of the entrance, there are statues of Kala and Mahakala. I am not sure if there is any connection to the following or whether the identification of the statues as Kala and Mahakala is correct. In this myth, Brahm and Vishnu, the other two members of the Hindu trinity, were disputing with each other for the status of supreme God. They appealed to the testimony of the four Vedas, which unanimously proclaimed Rudra-Shiva as the Ultimate Truth of the universe. But the disputants were unable to accept that Rudra, endowed with so many revolting symbols of impurity and degradation, could be identical with the Absolute Reality of Brahman, the formless metaphysical Reality behind all phenomena. It was at this juncture that Shiva appeared as a fiery pillar of light (jyotir linga) uniting the netherworlds and the heavens. The fifth head of Brahm taunted Shiva who, overflowing with anger, created a blazing Bhairava in human form. Addressing this Kla Bhairava as "Lord of Time-Death" (Kla), for he shone like the god of Death, Shiva ordered him to chastise Brahm, promising him in return eternal suzerainty over his sacred city of Ksh (Benares). Seeing Bhairava rip off Brahm's guilty head, the terrified Vishnu eulogized Shiva and devotedly recited his sacred hymns, followed in this by the now repentant Brahm. They thus acknowledged the supreme reality of Shiva. The severed head immediately stuck to Bhairavas hand, where it remained as the skull destined to
serve as his insatiable begging bowl. Enjoining him to honor Vishnu and Brahm, Shiva then directed Bhairava to roam the world in this beggarly condition to atone for the sin of Brahmanicide. "Show to the world the rite of expiation for removing the sin of Brahmanicide. Beg for alms by resorting to the penitential rite of the skull (kapla-vrata)." Creating a maiden renowned as Brahmanicide (brahma-haty), Shiva instructed her to relentlessly follow Bhairava everywhere until he reached the holy city of Ksh to which she would have no access. Finally absolved, the criminal god was immediately promoted to policeman-magistrate (Kotwal) entrusted with barring the entry of other evil-doers into this city of death and final liberation. There are three basic iconographic representations of Bhairava which derive from this myth. a) As Brahma-shiras-chedaka, he grasps by its hair the severed head whose dripping blood is greedily lapped up by his dog, and thus becomes a Kaplin or skull-bearer. b) As Kankla-mrti, he is shown spearing a man or already bearing the latters corpse (or skeleton) on his shoulder. This illustrates that episode in Bhairavas wanderings when he slays Vivaksena, the Brahman guardian who tries to bar his access to Vishnus abode. In both cases, he is either naked or wearing a tiger or elephant skin, a garland of human skulls, snakes around his neck and arms, and is grotesque with dark-skin and monstrous fangs. c) Third, as the milder Bhikshtana-mrti, he roams begging for alms from the wives of the Seven (Vedic) Sages in the Daru forest. In this episode, the women are so seduced by his naked beauty that they abandon all shame. Even the iconography also maps few symbols like the begging bowls, dog like creature sitting at the bottom, snakes which are normally associated with Lord Shiva, can these statues be corressponding to "Brahma-shiras-chedaka" and "Kankla-mrti"? And if two forms are depicted-that of "Brahma-shiras-chedaka" and "Kankla-mrti", why is the third form-"Bhikshtana-mrti" not depicted anywhere? Also, while doing the research for this article on the structure, I had come across an interesting interpretation. Mr Prithwiraj Misra, in his article, "Shiva and His Consorts-The Yoginis of Hirapur" mentions that the narrow entrance to the peeth is not dissimilar to the passage of the yoni, constricted at the opening, but widening into an open circle (a womb) that embraces urdhvalinga Shiva Bhairava at the centre. A perusal of some of the texts written by experts leaves one surprised by the total absence of any such observation of the structure in terms of yoni-linga union, even though the shape quite naturally suggests this. He also differs from Dr Vidya Dehejia on this point. He says, regarding the shape of the shrine, Vidya Dehijias contention that the circularity has something to do with Buddhist (stupa) symbolism, is way off the mark. See her preface to Yogini Cult and Temples : A Tantric Tradition. Even Thomas Donaldson in his monumental Kamadevas Pleasure Garden: Orissa seems to have ignored this aspect of the yogini shrines altogether. I somehow get inclined to go with Mr Mishra's interpretation on the structure. After having perused through multiple documents, iconography and pictures about Budhism, I can say that a hypaethral temple with idyphallic (urdhvalinga) Shiva statues has nothing to do with Buddhist symbolism. With Jainism too, taking the digambara beliefs into consideration, it is still a long shot. Coming back to the temple structure- directly infront, one would see the square structure in the middle of the circular structure. One would immediately see three statues: One of Mahamaya: the presiding deity of the temple bang in the centre, placed on an oblong niche of the inner wall of the temple perimeter. There are two niches on the east facades of the pillars of the central cuboidal structure. This holds the statue of Ajaika Pada Bhairava to your left as you enter and the statue of Swacchanda Bhairava on the right.
With a look at the south facdes of the pillars to the central cuboidal structure, one comes across two more statues of Swacchanda Bhairava.
All the Swacchanda Bhiaravas are ten-armed seated figures, each placed on a lotus seat, with a recumbent male body below accompanied by a small dancing female who is brandishing a knife in one hand and holding a skull cup in the other. All tour Bhairavas are depicted with erect phalluses (idyphallic/urdhva linga), standard for Shaiva images in Orissa. As per Probing the mysteries of the Hirapur Yoginis, Gadon, Elinor W., When the temple was rediscovered in 1953, a freestanding image of Shiva stood within the mandapa but was stolen shortly thereafter. Currently, the research on the Bhiaravas is underway. I shall update this section in more detail shortly. Now as one turns towards the inner perimeter, as per the nomenclature followed in the temple (yes all the statues are numbered), one has to start from the left side of the entrance as one enters. All yogini statues are exquisitely carved from black chlorite, a material that has preserved all details of jewelry and ornamentation, forming a striking contrast to the smooth areas that denote naked skin. Their gleaming, polished beauty seems pristine despite some smashed faces and broken limbs, the depredations of vandals over the centuries. Carved in the classical medieval Kalinga style (ninth to thirteenth century), they represent the Indian ideal of feminine beauty, with full breasts, narrow waists, and ample hips, their bodies gracefully posed to enhance their sensuality.Each Yogini stands in her own niche. All stand side by side on their vahanas, the celestial mounts depicted on their pedestals. The vahanas include animals such as the ass, alligator, bull, boar, buffalo, camel, crow, cock, crab, deer, elephant, scorpion, tortoise, and snake; vegetable symbols such as the lotus and other kinds of flowers; and inanimate objects such as a table, vase, or wheel, as well as human heads and corpses. All these symbols must have originally been keys to the identification of the Yoginis by their votaries. The esoteric meaning of these symbols of their powers is now apparently lost in most cases. However, it may still survive in oral tradition. Most Yogini images at Hirapur are two armed, although others are four armed. However, one image-Mahamaya, enshrined in niche 31, directly opposite the entrance and larger than the others, is ten armed. As the presiding deity, she stands on a full-blown lotus. Iconographically this image conforms to the description of Mahamaya in the fourteenth-century Kalika Purana. Kali
was identified with the maya principle, the power of cosmic delusion emanating from the god Vishnu, and personified as Mahamaya as far back as the sixth-century Devi Mahatmya (Hymns of Praise to the Great Goddess) and is still in worship by the locals as their gramadevi under that name. Now lets look at the images of the Yoginis in detail:
All the Ashtamatrikas (8 prime divine mothers) covered as 8-Indrani (Also Called Aindri), 9Varahi, 12-Vaishnavi, 26-Narasinghi, 30-Kaumari, 41-Maheshwari, 56-Chamunda With these details, I would like to conclude my series on 64-Yogini Temple at Hirapur, Bhubaneshwar, Orissa. I would update the blog as and when more points from the research crop up. Hope you enjoyed the jouney as much as I did while making it. Just in case, you want to refer to some more articles on the topic: In Odia: An Article by Pt Antarjyami Mishra http://www.orissasambad.com/news_article.php? id=7333