AN EXPOSITION ON MALINI VIJAYOTTAR

TANTRA
Malinivijjayuttar tantra and svacchanda tantra are the
two leading tantras of the school of Kashmir
Shaivism,others being Tantraloka etc.
na R^i R^I L^i L^I tha cha dha I Na u U ba ka
kha ga gha ~Na i a va bha ya Da Dha Tha jha ja ra Ta
pa Cha la A sa aH ha Sha xa ma sha ~na ta e ai
o au da pha .
A colored photograph of an idol of Fire god, Vahni, established
in a temple in Japan, appeared in Hindu Vishwa, in its issue of
April, 1977. The appearance of the idol is Tntric in character. It
bears the name of the deity written in Japanese and Sanskrit as
Vanhan, a corrupted form of the word Vahni. Such form of
the word reveals another Tamilian linguistic tradition evident
in names like Raman, Krishnan etc. The name of the deity is
written in two different scripts. In Japanese it is written in the
script of that country, but in Sanskrit it is written in an Indian
script the letters of which belong, without any doubt, to the
rad script of Kashmir, as it is prevalent at present, though
these are written vertically and not horizontally in accordance
with the Japanese system of writing. It proves that
Siddhamtk,
the alphabet of the Siddhas, had reached up to
Japan in the ancient times. The tradition of the use of
siddhamtk
in all religious matters must have been carried to
such far away countries by Buddhist monks who practiced Zen
yoga which is a corrupted form of mbhavayoga of the Tntric
Shaivism of Kashmir. mbhavayoga in Kashmir Shaivism,
being aided by the impression of the theistic absolutism of that
school of Shaiva monism, leads a practitioner to the realization
of the innermost nature of the self as it shines at the highest
step of Tury, the state of spontaneous self-revelation. But the

same yogic practice, supported by the impressions of Buddhist

nihilism, cannot lead beyond apavedya suupti,
a state of deep

sleep. That is the main difference between mbhava yoga of

the Trika system aand the Zen Buddhism of Japan. It was
carried to Japan, China and Mongolia by a Buddhist monk of
Tamilnadu who was named Bodhidharma. That explains the
Tamilian influence visible in the name Vanhan.
The Bja mantras like hr, r, kl, ai etc., do not denote
any conventional meaning based on saketa. The same is the
fact with regard to the letters of Mtk
and Mlin. Such letters
and syllables do not even indicate anything through lak a a,
because the conditions necessary for its working do not arise
there at all. Just as some peculiar sounds and their peculiar
combinations, existing in poetic art, arouse certain feelings in
listener and illuminate certain poetic peculiarities like madhura
and ojas gu as in him through the majestive power of such
sounds (known in the alakrastra as vyajan vtti),
so do

the Bja mantras, contemplated upon through specific methods

of Tntric theology, reveal and illuminate certain aspects of
pure I-consciousness, and arouse certain hidden spiritual
powers in a practitioner.
Bja mantras give rise to certain wonderful powers in a
practitioner and fulfill his worldly wants in addition to leading
him towards self-realization. These are commonly used by all
sects and schools of Tantra. Mtk
and Mlin are the elements
of higher Yoga not known to all the Tntric sects and schools.
These are the special property of the Trika system of the Shaiva
monism of Kashmir alone. A practitioner of mbhava Yoga,
using the fifty letters and sounds of Mtk,
realizes himself as
the only existent infinite and pure I-consciousness, not egotic in
character, but shining as an absolutistic self-awareness, bearing
in it the manifestation of the whole phenomenal existence as a
reflection of its own divine powers brought about by its own
playful and divine will. He visualizes his divine powers as the
sixteen vowel-sounds and letters from a to aH and discovers
all the phenomenal tattvas from earth to akti, shining as the

consonant sounds and letters from ka to kSha. Such yogic

practice to see ones pure I-consciousness as the absolute
infinite reality beautified by the wonderful reflections of all
phenomena, shining as identical with it, without even the
slightest manifestation of diversity, is the Mtk
Yoga of
Kashmir Shaivism. The ancient Shaiva Siddhas of Kashmir
discovered it, practiced it, attained perfect success in its
practice and taught it to curious aspirants without any
restrictions. Siddhamtk
was already prevalent among the
ancient Siddhas in Kashmir, even before the elaborate
development of the yoga of Mtk
and Mlin and was used in
Tntric sdhan practiced with the help of mystic syllables
called Bja mantras. It had already been carried to other regions
of Kashmir by such ancient Siddhas and had become popular
with Tntric practitioners in the South and akarcrya
practiced such sdhan in the 8th century A.D. Kashmir is this
the original home of the use of alphabet in the theological
practices of Mtk,
Mlin and Bja mantras.
Note: Mahmahevara crya Abhinavagupta, in his So aa
Mtkdhvara
Stava (you can find that on our Stotras page),

describes the Mtk

Prakriy of Mahmbhava yoga. The
sixteen forms of iva that represent the sixteen vowels (a to
aH) manifest in various akti-spandas and encode in them the
mysteries of mbhava yoga sdhan. These sixteen forms are:
amta,
amtadrava,
amtaugha,
amtapr

a, amtbha,

amtormi,
amtasyandana,
amtgada,
amtodgra,
amtsya,

amtatanu,
amtani
ecana,
amtamrti,
amtea,

sarvmtadhara.
It is a Siddha Stotra that can free one of

various bodily afflictions, diseases and poisons - Sri

Kamakoti Mandali
Tags: abhinavagupta, alphabet, amriteshvara bhairava, bija
mantras,bodhidharma, buddhism, i-consciousness, japan, kash
mir shaivism,mahahameshvara, malini, matrika, matrika
prakriya, nihilism, shakti spanda,shambhava

yoga, shiva, shodasha matrikadhishvara stava, siddha

matrika,siddhas, siddhis, tantra, trika, turya, vahni, zen

GGGGGGGGG
Malinivijayottara Tantra
In turya state, the aspirant is identified with Shiva
consciousness. The common man simply calls it the turiya or
fourth state, because it is beyond the three known states of
waking, dream, and deep sleep. He has no experience of the
turya state - Introduction to Shiva Sutras, Jaideva Singh
[This is the introduction to the Malinivijayottara Tantra
published, along with the Sanskrit text which it partly describes,
as No. XXXVII in its Kashmir Series of Text and Studies, in
1922. It is consequently out of copyright.
The work, according to the introduction by Madhusadhan Kaul
below, forms the basis of Abhinavagupta's Tantraloka, and
thereby forms part of the body of so-called Kashmir Shaivism.
Readers might be forgiven for getting the impression that the
work Kaul describes is philosophical, but a study of the text and
of the principles associated with the text reveals that to be far
from the case. This, like other texts of its type, deals with inner
work and this particular text concentrates on the tattvas, more
details of which can be found on this page. It is also worthwhile
looking at both Shiva Sutras and the notes attached, as well as
the Netra Tantra and our abstract of theVijnanabhairava, which
may also be found on this site.
Kaul's introduction deals usefully with many of the philosophical
tenets of Kashmir Shaivism, but it is worth giving a brief outline
of some of the other contents of this tantra.

Adhikara (chapter) III, discusses the unfolding of the mantra,

and names the eight Matrika devis as Maheshi, Brahmani,
Kaumari, Vaishnavi, Aindri, Yamya, Chamunda and Yogishi.
They preside over the eight letter groups. This chapter goes on
to describe their dhyanas, or meditation images, as well as the
mantras or vidyas associated with each.
The fifth adhikara describes the different worlds, the different
heavens, and the different underworlds, full as they are of
different inhabitants including spirits, demons, gandharvas and
gods. The Rudras are above these. The sixth adhikara, which
in the colophon is described as dealing with the body, describes
the five elements and their position. In adhikara six, the
mudras, referred to in Kaul's text below, are discussed.
Adhikara eight deals with ordinary worship at great length,
while the ninth chapter concerns itself with initiation and the
drawing of the circle or mandala for this rite. The 10th adhikara
continues this theme by discussing abhisheka, while chapter 11
deals with initiation (diksha) proper.
The 12th chapter starts to discuss the dharanas associated
with the five tanmatras, or objects of the sense impressions,
while the 13th chapter is called victory over the elements. It
contains detailed meditation images of the elements, and
various siddhis are said to occur from these practices. For
example:- "Now I declare the meditation on Varuni (water), by
which one who accomplishes this yoga becomes the ruler of
water (jala) [1]." Meditating on the circle of water allows a yogi
to become wetness himself after only seven days. Further
practice brings greater siddhis. This is followed by fire, which is
visualised as a triangle, air and the other two elements.
Detailed instructions are given for different dhyanas and their
results.
Chapter fourteen deals with techniques relating to the
tanmatras themselves, that is the impressions of smell, taste,
sight, touch and hearing, a subject extended in the 15th

adhikara. Chapter 16 discusses other dharanas related to the

tattvas, while in the 17th adhikara, the different type of
breathing and the movement of the vital air through the body is
discussed. Chapter 18 discusses the outer lingam, such as that
made of clay and the like, and the inner lingam which exists
within the body and brings real liberation. The 19th chapter
deals with the Kulachakra, chapter 20 talks of the nature of
mantras, and the last two adhikaras each discuss yogic
techniques relating to the Moon and the Sun respectively. MM]
Malinivijayottara Tantram
Foreword
The present volume of the Kashmir Series of Texts and Studies
represents the Saiva yoga as set forth in the Trika system of
Kashmir. Its edition is based on the collation of the manuscripts
described below:
(ka).--This manuscript belongs to the Manuscript Library of the
late Rajaram Sastri of Srinagar. It is written out on country
paper in bold and legible Sarada character. In size it is just
about foolscap. Leaves of the MS. number fifty with an average
of 27 lines, to each page. Its importance lies in its being correct
and its containing variae lectiones which proved greatly useful
in the collation work. It is complete except a few omissions.
New. No date;. but seems to be three-fourths of a century old.
(kha).--This pertains to Pandit Harabhatta Sastri of this
Department. The MS. is in the form of a talapatra and is written
on paper in legible Sarad character. It consists of 25 leaves of
foolscap size with 24 lines to each page. It is correct and
complete but with small lacunae here and there. It is only
twenty-five years old. The MS. was of much assistance as far
as it threw. light on many intricate points in the volume under
notice.
(ga).--This MS. is in possession of Pandit Mahesvara Rajanaka
of this Department. It is copied on Kashmirian paper in

Devanagari character. The handwriting is bold and legible. The

MS. contains 70 leaves measuring 10" by 6". There are a few
blanks in the MS. It is correct and older than either of the above
two MSS. One of its distinctive features consists in its
containing in the colophon the following three couplets which
mention the name of the scribe and the date of completion of
the transcript and which are not met with in either of the
aforesaid MSS. The couplets run:
1 mAlinIviGYaya.m devyAstantra.m rahasi yat.h purA .
parameshena sa.mprokta.m bhaktAnugrahakAmyayA ..
2 kArttikeyena yachchokta.m shrulvA sa.mpadatostayoH .
munInA.m bhaktiyuktAnA.m sa.msArArNavatAraNam.h ..
3 tadetadurvanuGYAto govindAshramasa.mGYakAH .
shrInondapa.mDitasuto budhe.alikhata vai budhaH ..
Their rendering in English is as follows :-1. The Tantram, to wit, Malinivijaya, was, of yore, out of
compassion for His devotees, said in secrecy by Paramesvara
to Devi.
2. This Tantram, a never-failing help in crossing the ocean of
mundane existence, was related to the devoted munis by
Karttikeya after he had heard it from them, i.e., the Devi and
Paramesa the topic of Whose dialogue it formed.
3. The same Tantram, under the charge of his religious
preceptor, was transcribed on Wednesday by the learned
Govindasrama, son of Sri Nonda Pandita.
The date of the MS. is recorded as Samvat 26 Vaivad
Saptamyam Bhaume, i.e., on Tuesday, the 7th of the dark
fortnight of Vaisakha 26 anno Vikrami. This 26 must most
probably be 1826 A. V. or 1769 A. D. as is corroborated by the
older appearance of the paper used on the MS, in question. In
addition to the assistance derived from the collation of the
above MSS. much pains have been taken in adopting many a
corrigendum in the variant readings of the text from their direct
and indirect references in Tantraloka, Svacchandatantram,

Paratrisika, Sivasutravimarsini and Vijnanabhairava (all of the

Kashmir series). The major portion of the MS. owes its
correction particularly to the Tantraloka which is a detailed
exposition of this and to the Svacchanda to which it is in many
respects akin. For this the scholarly labour of my Sanskit staff is
really commendable.
In spite of my overcautiousness in making the present edition of
the Malinivijayatantram really useful for the Tantric public, many
unavoidable blemishes have been lurking in the book for want
of the better material available. I hope that my future
researches, carried under :the munificent patronage of the
Kashmir Darbar in obtaining the desired material, will lead me.
to better ends in view.
Srinagar, Kashmir
31st January 1922
Madhusudan Kaul
Introduction
General.--The supreme control over and the gradual unification'
with the 36 principles from Siva to the gross earth form, inter
alia, the principal argument of the Malinitantram.The first
recipient of this mystic lore is Paramesa who learns it from
Aghora. The Tantram is in the form of an interlocution between
the Devi and Paramesa, the sacred teachings whereof have
been communicated to the Rshis by Kumara the destroyer of
Taraka.
It seems from the opening verses that there was originally a
Tantram called the Siddhayogisvaritantram which consisted of
nine crore verses and which interpreted the Saivaistic
teachings in the light of Bheda, Bhedabheda and Abheda. Its
abnormal prolixity necessitated its being summarised in three
crore verses, the chief topic dealt with therein being the path of
yoga. The abstract thus formed went by the name of
Malinivijaya. In course of time, another improved and still more
summarised edition of 12,000 verses of the same was

adopted. The tantram in the present form is supposed to be the

briefest resume of the above as far as it is most convenient and
helpful to the dull brain.
In my opinion supported by the text itself, the Malinitantram is
the latter part of the Siddhayogisvaritantram of which the former
part was probably represented by the Siddhamatam (cf. sloka
13, M. V. T., 1st Adhikara).
Authorship of the Tantram.--The Tantram is affiliated to the
Agama Sastra and is, as such, of divine authorship. The origin
of the sacred lore or Agama is very beautifully painted in the
rich vocabulary of Tantraloka. It describes in a masterly style
the way how it was revealed to the sages :-"The Logos, or the All-Transcending Word (Paravak),
germinally contains all the Sastras or Agamas in their supersensuous form. This Logos materialises gradually into the
physical form as syllables or vocables and, as such, forms the
units of speech. In its preliminary materialisation as Pasyanti,
the two aspects of consciousness are totally merged together
and the words and their meanings are not at all separated. The
objects of perception in this stage appear as of a piece with the
subject. In the intervening stage of the Para, words and their
meanings are differentiated from each other in the mind before
being voiced forth. In the last stage it becomes Vaikhari
because it expresses itself through the words uttered by
different vocal organs.
"Thus the Para, forms ultimately the source of all the Sastras
flowing out as spoken words from the five faces of the Supreme
Being, which represent His fivefold Sakti--Cit, Ananda, Iccha,
Jnana and Kriya. The five systems of revelation, which
principally originate from Paramashiva through His five powers,
constitute the 92 schools of Tantras divisible into three classes
and designated respectively Siva, Rudra and Bhairava. First of
these which maintains the doctrine of duality consists often
systems only. The second class contains eighteen systems and

propounds the doctrine of duality-unity or Bhedabheda. The

last, on the other hand, is unique in declaring the eternal truth
in the light of Idealistic Monism and preaches its doctrine in 64
systems."
The same line of thought is also perceptible in the primeval
utterances of our ancient vedic seers. The reader is advised to
consult the verses 29, 45 hymn 164, mandala I, .Rgveda.
1 aya.m sa shi.mkte yena gaurabhIvR^itA
mimAti mAyu.m dhva.msanAvadhishritA .
sA chittibhirni hi chakAra marttya.m
vidyudbhavantI prati vavrimaudata ..
2 chatvAri vAk.h parimitA padAni
tAni vidurbrAhmaNA ye manIShiNaH .
guhA trINi nihitA ne.mgaya.mti
turIya.m vAcho manuShyA vadanti ..
Tantra defined.--Tantra being a generic term for a class of
religious and magical works is designated as the mantrasastra
though it generally treats of (i) incantations, (ii} their philosophy,
(ill) the principles, (iv) the worlds, (v). ceremony, (vi) initiation,
(vii) worship, (viii) mental and bodily discipline, (ix) observances
of a Tantric. Like the Veda it is, as the Tantrics hold, the breath
of the Supreme Being or in other words the immutable and
eternal knowledge.
The performance of the present day Vedic ceremonies by the
Kashmiris, which run side by side with those of the Tantras and
which are sometimes intermixed with the latter, leads to believe
that the Tantras are either an imitation or a development of, or
an improvement upon the Vedic ceremonies. The Tantric
supplement is useful, in the opinion of the Tantrist, to quicken
and ensure the fulfilment of desires in the Kali age.
Tantric worship.---It does not essentially differ from that of the
Vedas. It strongly maintains the Omniscience and the
omnipotence of God. The complete immersion of the duality in
unity is the main lesson of the Tantras. The adorer becomes the

adored himself. His body is the temple and his soul the idol in it.
He is the high priest not of a god above; around, or below but of
his own ever-wakeful self.
Tantric view of Moksha.-- Moksha, in the tantric sense of the
word, is the unfoldment of powers brought about by the selfrealization. It is not the giving up of the mortal coil and thus
acquiring immunity from death. To a real Tantric, birth and death
are phenomena of his own creation. He finds gratification as
much in the one as in the other (cf. Bhairavastotra of Abhinava
Gupta). He is the Bhairava whose name even strikes terror into
the destructive agencies and at whose sweet will the world
lives, moves and has its being. His sole article of faith is that
death has significance only for those who are subject to
mortality and not for those who have risen superior to its idea
by their living belief in the deathlessness of the soul (cf.
Tantraloka p. 192, vol. I)
Realistic Optimism of the Tantras.--A Tantric, like the one
believing in the Vedas, by gradual marches on the spiritual
path, comes to feel his close kinship with nature. To him both
the animate and the inanimate are glowing with divinity. The
divinely glorious presence puts an end to all his animal
tendencies and inspires him to fulfil his noble mission. His selfcentredness cheers him up and infuses him with the fresh
energy that facilitates and quickens the dawn of his native glory
without any detriment to the enjoyment of the sweet pleasures
awaiting him in the world. To him the world is not an illusion, not
a Maya of the Vedantists, and therefore he tries to make
himself and his surroundings happy to the best of his ability.
Potency of the Mantras.--The main theme with which the
Tantras are concerned is the power of Mantras. Mantras, as the
Tantrists maintain, are certain scientifically arranged formulas
which, if practised according to the Tantric precepts, bring
about certain results conducive to the fulfilment of utterer's
wishes. Each and every Matrika (a, A, etc.) is a living energy in
itself and should in no way be mistaken for a mere Varna or

letter. A living force is created by placing the letters in a certain

systematic order by the Sadhaka.
The mantras are nothing but the harmoniously living forces
strong enough, no doubt, to accomplish even the most difficult
undertakings of the votaries of the Tantras. This is not all. The
arrangement of letters in a scientific procedure goes a great
way to help the worshipper, provided no omissions of any sort
of the part or parts in the Tantric ceremony are made, to fathom
out the hidden secrets of nature, nay work wonders, and
gradually free him from the meshes of the world and raise him
high to the lofty plain of supreme consciousness styled
Paramapada.
All-embracing nature of the Tantras.--The great merit of the
Tantra lies in its all comprehensive and all-embracing nature.
The portals of Tantra are invitingly open to all irrespective of
caste and creed. The repulsive and revolting. creed of
untouchability .is unknown here. The sweet cup of nectar,
which it holds in its outstretched palms, can be enjoyed by both
the high and the low. No hard and fast rules, nor any strict
observances like those of the Vaidikas, are to be followed by
the devotees of Tantra. Shortlived and enervated as the men of
iron age are, they, by following the short and smooth methods
of Tantric self-culture, accomplish within a short span. of time
what others achieve in ages after ages. This is why the Tantras
are popular and have a large following.
Difficulties in the adoption of Tantric methods.--But no rose is
without a thorn. Good and evil run side by side. There is
nothing which has unmixed good or unmixed evil in it. The rosy
path of the Tantric is beset with thorns here and there. It is
therefore the foremost duty of the Sadhaka to avoid the thorns
and to adhere to the rosy path, lest he fall into the trap of the
low spirits of nature, who, trying to cause mischief, put
obstacles in his way and thereby retard his progress in the
attainment of his desired object. It is only the potency of the

mantras that brings about the subjugation of these

supersensuous beings.
But, as ill luck would have it, a novice or a beginner in the
Tantric ceremonies, oftener than not, associates with the low
spirits and makes them minister to his unlawful ends. He
discards the achievement of the high ideal which he ought to
have followed strictly and unerringly. This sort of practice is
resorted to by the black magicians whose fate is rendered
miserable both here and hereafter. Practices of this type are,
never and in no region, commendable on the part of the real
Tantrics. The realisation of the Advaita Tattva is the chief aim, or
the summum bonum, to be attained by the high-class Tantrics.
It is to this end that they consecrate their lives and gain the
highest status in spirituality.
Malini--In his commentary on the 17th verse of the Tantraloka,
volume I, p. 35, No. XXIX of our Series, Jayaratha says that the
Malinivijayottara is so called because, due to the glory of Malini,
it occupies a pre-eminent position among and is superior to all
the other Schools of Saivaistic Tantrism. Malini is also known
by Mala and so the Malini is the generic term for the series of
letters or the alphabet.
The natural and phonetically scientific order of the Sanskrit
alphabet goes by the name of Purvamalini which is popularly
known as Matrika or Siddhi. When, on the other hand, no
attention is paid to the alphabetic origin and to its natural order
and when therefore the vowels and consonants are taken
promiscuously, the alphabet is called Uttaramalini, chiefly
denoting that order in which 'na' occupies the first position and
'pha' the last.
Malinivijayottara has reserved for itself the various modes of
application of the Uttaramalini for the mystic practices just as
the Svacchanda does of the Purvamalini. I believe that in the
time of the Sri Svacchanda either the order of the alphabet from
' na' to 'pha' was unknown or less appreciated and therefore

less in vogue, or that the followers of the Svacchanda did not

believe in the Malinimata. -Of course Kshemaraja looks at the
Svacchanda in the Trika perspective but there is no reference
whatsoever to the Malini, i.e., the Uttaramalini, in the text of
Svacchanda.
The Sanskrit alphabet as given in the Uttaramalini arrangement
runs as below:
Malini is of the greatest utility in infusing the divine life into the
body of practisers and all the Tantrists are enjoined to have
recourse to it for the attainment of desired objects in all the
cases in which particular details and instructions could not be
punctiliously observed regarding nyasa. Different parts of the
human body represent the different letters of the Malini. While
giving the three kinds of mantra called para, apara and
parapara, instances are furnished as to how a particular
incantation can be made out from particular technical terms
such as head, eyes, etc. (see p. 135, Tantrasara of our Series).
Commentary.--The text of the Malinivijayatantra is difficult to be
understood owing to the numerous technicalities found in it. But
the attempts of Abhinavagupta. have left no point unexplained
and for this the Tantric public must feel specially thankful to
him. The first verse of the Tantram he took up in his Malinivijaya
varttika and explained it so thoroughly that connotations of
several terms are made clearly intelligible. The points, that
could not :find room in the Varttika for want of space and owing
to its limited scope as Varttika, he discussed in the Tantraloka.
The Tantraloka, as the author himself declares, is a detailed
exposition of the Tantram. The reader of the Tantra could get an
opportunity of understanding the text more clearly if this
Department were to get the MS. of Abhinava's Purvapanchika
on it. (See commentary on Tantraloka; 16th Ahnika). Abhinava
has a very high opinion of the Tantra and says in the Tantraloka
that the Malinivijaya is the essence of the Trika System which

again represents the pith and marrow of the different teachings

of the Lord enunciated in the different schools of Tantras.
Abstract
The great sages Narada and others, feeling athirst under the
holy inspiration of Sivasakti for the right realisation of the
Supreme Principle, repair to Kumara and, after paying due
homage, request him to initiate them in the mystic processes of
yoga. Kumara, thereupon takes commiseration on them and
communicates the secret knowledge of the Malinivijayatantra
as originally addressed by Siva to Uma.
The whole range of the knowable is divided into two classes,
the acceptable and the avoidable. The acceptables are: Siva,
Sakti, Vidyesa, Mantra, Mantresvara and the Jivas. The
impurity, actions, Maya and the whole world, as her creation,
form the category of the avoidables. The key to the success in
both the spheres of matter and soul is supplied by the right
discernment of the acceptable and the avoidable.
The supreme controller of the universe in the words of the
Malinivijaya is all-doing, all-knowing, all-sustaining and infinite.
On the emergence of desire at the creational stage, He evolves
out of His own Self the octad of Vijnanakevalas. He assigns to
them the functions of sustenance, destruction, preservation and
benefaction. For their sphere of action He manifests seven
crores of mantras with their respective ranges. All these
mantras are the living psychical forces and they gratify the
wishes of a Sadhaka by the well-merited bestowal of fruits.
The self comes into manifestation in the fourfold capacity as
Siva, Mantramahesa, Mantresa and Mantra. Siva is the lord
Himself. Vijnanakala is a degree less than Mantra owing to the
defilement of mala. Pralayakala is wrapped up in the
defilements of mala and karma. Mala stands for the imperfect
knowledge and the tree of the world shoots up therefrom.
Karma is the action in general. As virtuous, it leads to pleasure
and, as otherwise, it yields pain. Sakala stands for the anus or

jivas in general. Their field is offered by the totality of categories

from kala to earth.*
Rudras are one hundred and eighteen in number and are
headed by Angushthamatra.
According to their merits they are appointed as Mantresvaras.
They take over charge of their departments and reward Brahma
and others according to their deserts. The sages receive the
sacred science of the knowable either as acceptable or as
avoidable from Brahma, etc. and Manus, from the sages.
Of the seven crores of mantras one half of the portion has, at
the option of Siva, attained the deathless stage after favouring
hosts of jivas.
Each principle from earth up to matter is susceptible of being
viewed from fifteen different standpoints owing to the seven
perceivers regarded either as Sakti or as Saktiman and to the
principle itself; those from Purusha to Kala, from thirteen owing
to the inapplicability of perceptivity to Sakala therein. The
principle of maya is viewed from eleven standpoints because of
the further reduction of Pralayakala as .perceiver. Similarly,
other principles know each a further reduction of two
standpoints up to the last principle of Siva which has no
diversity.
The spiritual teacher is defined as one who knows all the
aforesaid principles in their true perspective. He occupies as
lofty a position as Siva and is, as such, the revealer of the
potency of mantras. At his mere touch the people get purged of
all sins.
The inspiration of Rudra Sakti is ever existent in him. The five
indicative marks of the Rudrasakti are: (1) firm devotion to
Rudra, (2) the success of the mantra capable of yielding the
desired object instantaneously, (3) the control over all
creatures, (4) the bringing to completion of all undertakings,
and (5) the poetic faculty. The inspiration of Rudrasakti is

primarily divisible into three heads, Anava, Sakta and

Sambhava, each of which is fiftyfold with reference to bhuta,
tattva, atman, mantresa and Sakti and to their Sub-divisions.
Anava is that inspiration of Rudrasakti which is attainable by
utterance, conscious mental discipline (karana), contemplation,
incantation and the bodily centres.
Sakta is the name of that stage which is obtainable by .the
contemplation through the mind on the object of meditation
accompanied by utterance.
Sambhava indicates the state which is produced by the deep
and penetrative spiritual insight involving absolutely no mental
concentration on any particular object.
All the above forms of inspiration are susceptible of being
interpreted in the light of the fivefold state, waking, dreaming,
dreamless, the fourth and beyond the fourth. The following
table is given to help the reader in tracing the pentad of states
in the chain of standpoints undergoing a gradual reduction by
twos at each stage of perceivers:-From earth to matter
1. Svarupa-sakala stage
(a) Svarupa-sakala-sakti = waking state (jagrat)
(b) Pralayakala = dreaming state (svapna)
(c) Vijnanakala = dreamless state (sushupti)
(d) Mantra, mantresa, mantramahesa = 4th state
(e) Sivasakti = beyond the 4th state
From Purusha to kala
2. Sakala stage
(a) Sakala = waking state
(b), (c), (d), (e) As above
Principle of maya
3. Pralayakala stage
(a) Pralayakala = waking state

(b) Vijnanakalasakti = dreaming state

(c), (d), (e) As above
Mayordhva
4. Vijnanakala stage
(a) Vijnanakala = waking state
(b) Mantra = dreaming state
(c) Mantresa = dreamless state
(d) Mantramahesa = the 4th state
(e) as above
Suddhavidya
5. Mantra stage
(a) Mantra = waking
(b) Mantresa = dreaming
(c) Mantramahesa = dreamless
(d) Sakti = the 4th
(e) Siva = beyond the 4th
Isvara
6. Mantresa stage
(a) Mantresa = waking
(b) Mantramahesasakti = dreaming
(c) Mantramahesa = dreamless
(d), (e) As above
Sadasiva
7. Mantramahesa stage
(a) Mantramahesa = waking
(b) Kriyasakti = dreaming
(c) Jnanasakti = dreamless
(d) Icchasakti = the 4th
(e) Siva = beyond the 4th
Undifferentiated stage
Siva stage
(a) Kriya = (a) Waking

(b) Jnana = (b) Dreaming

(c) Iccha = (c) Dreamless
(d) Ananda = (d) The 4th
(e) Cit = (e) Beyond the 4th
The synonyms of the states are:
(a) Jagrat = Pindastha = Sarvatobhadra.
(b) Svapna = Padastha = Vyapti.
(c) Sushupti = Rupastha = Mahavyapti.
(d) Turya = Pracaya = Rupatita.
(e) Turyatita = Mahapracaya.
The triple manifestation of the transcendental self as an
average self, as energy and as Siva, constitutes the triad of
fundamentals forming the central theme of the Trika
Philosophy. It covers the entire field of Tattvas of the Saivaism,
the Atman overlapping as many as those beginning with earth
and ending with the Vijnanakala; Vidya or Sakti, those from
Mantra to Mantresvara and the rest constituting the state of
Siva.
The fourfold classification of the Tattwas from the evolutionistic
standpoint is termed the earthly, the material, the mayic and the
Saktic. Among these the first is pervaded by Dharika Kala. It
has only one Tattwa, one letter, one world, one mantra
represented by 'ksha' and sixteen worlds. Apyayani Kala
pervades the second. Twenty-three. principles from water
upwards and as many letters (ta and others) are assigned to it.
Five words, five mantras and fifty-six worlds are included in it.
The third is permeated by the Bodhini Kali. Seven principles,
twenty-eight worlds, seven letters, two words and two mantras
are found in it. The last is covered by Utpuyini and there are
three principles, three letters, eighteen worlds, one word and
one mantra in this class. The final principle is called Siva, As
such, it is under the Avakasada kala and has sixteen vowels,
one mantra and one word. The above four classes are
respectively presided over by Brahma, Vishnu, Rudra and
Isvara.

In giving the genesis of the sanskrit alphabet from 'a' to 'ksha'

there occurs a description as to how the inseparable Sakti of
the Lord, at the cosmic stage, evolves as cognition and activity
when He feels the holy impulse of bringing into manifestation
the world as we see it. The faculty that gives the determinate
knowledge, 'this is thus and not otherwise', is known as
jnanasakti.
The kriyasakti denotes that faculty wherethrough the
determination, 'let such and such thing come to light', is
translated into action. As regards the universe of sound, Sakti
appears as Purvamalini representing the alphabet from 'a' to
'ksha'. Aghora is said to be awakened into action by
Paramesvara and at His desire he vitalises maya and from her
emanate various letters and these letters are the source of
knowledge in general.
Although the Sakti of Siva possesses infinite forms, she is
chiefly known through her three aspects--(a) apara or ghoratari,
(b) parapara or ghora, and (c) para or aghora. The apara keeps
always surrounding the Rudra souls and pushes the Jivas on
the downward march by attaching them to sense objects.
Parapara, like the former, hinders the progress of the jivas
towards their goal of life and brings about their attachment to
the mixed fruit of pain and pleasure. Lastly, para occupies
herself in conducting the creatures to the highest end of life, the
attainment of Siva stage. The Uttaramalini in which also Sakti
appears is referred to above.
The three respective mantras of the above triad are given in the
phraseology of the different parts of the human organism.
The allotment of the six systems of the path (adhvan) is
substantially the same in the Uttaramalini as in the Purvamalini.
The former in this respect differs from the latter inasmuch as
the order of the alphabet is different to and other than that
given for the former. 'Pha' is assigned to the principle of earth.
From 'da' to 'jha' the twenty-three 'letters are respectively

allocated to the corresponding 23 principles beginning with

water and ending with matter. The principles from purusha to
maya claim one each, the letters from 'cha' to 'a'; 'i' to 'gha'
cover respectively, the principles Suddhavidya, Isvara and
Sadasiva. The principle of Siva embraces the sixteen letters
from 'ga' upto 'na'.
For understanding the application of the three mantras of para,
apara and parapara, as regards the different principles, the
reader is advised to consult the passage given on page 24
Malinivijaya.
The knowledge of the acceptable as also of the avoidable is
indispensable for the attainment of yoga which, as such, is the
unification, of the individual soul with the universal. Jnana as
well as yoga lead alike to the goal of life as referred to above.
The former is threefold as being based on what is heard, on
contemplation and on living realisation of the reality. The first
deals with it as dwelt upon here and there in the sacred texts.
The second involves a deeper study of those in their entirety
with an eye to sifting the fundamentals. The third marks the
final stage of the seeker after truth and is possible only on the
fixity of the previous stage.
Yogi also has to go through the four stages while on the path of
Yoga. According to the degree of divine inspiration, he is called
(1) Samprapta, (2) Ghatamana, (3) Siddha and (4) Siddhatama.
Samprapta is one who has received initiation through a line of
teachers and is living upto it.
Ghatamana refers to him who again and again checks and
restrains his mind from the outside influence and. concentrates
it on the truth.
By the continuity of efforts owing to the ever-increasing interest,
he gets success in disciplining his mind into the concentration
on that truth exclusively, and is called Siddhayoga.

When getting totally identified with the highest principle so as to

lose his individuality to the utter disregard of the circumstances
he is placed in, he becomes siddha. In this stage alone he is
really justified to uplift the depressed humanity.
The saiva teacher is advised to purge his disciple of all the
impurities peculiar to the different worlds numbering 118 which
respectively cover the range of principles from Prithivi to
Sadasiva before he can lead him to find the reality in Siva.
The purification of the soul is to be necessarily undergone not
only in the above way but also in the body which
microcosmically represents all the principles.
The Malinivijaya has a set of mudras on the exercise of which it
lays a great stress and enumerates them as follows:-(a) Trisula. (b) Padma. (c) Sakti. (d) Cakra. (e) Vajra. (f) Danda.
(h) Mahapreta. (i) Mahamudra. (j) Khagesvari..(k) Mahodaya.
(1) Karala. (m) Khatvanga. (n) Kapala. (o) Hala. (p) Pasa. (q)
Ankusa. (r) Ghanta. (s) Trisikhamudgara. (t) Avaha. (u)
Sthapana (v) Rodha. (w) Dravyada. (x) Nati. (y) Amrta, and (z)
Yogamudri.
Their mantras are to be formed by prefixing the syllables 'om'
and 'hrim' and affixing the word 'namah' at the end.
A follower of the Malini School, if and when he desires to
perform a sacrifice, must have purificatory baths technically
known as Bhasmasnana, Jalasnana, Agnisnana, Vayusnana
and Divyasnana. Being thus purified he should enter the
sacrificial altar and offer worship to the deities of the entrance.
He should consider himself as akin to Siva in the form of light
and should electrify himself with the vital energy of
consciousness consisting in 'I am He.' He should identify his
body with the matrika assigning each of the parts of his body to
the corresponding letters of the alphabet according to the
arrangement of the matirkanyasa. In the saktanyasa which he
has to observe after this, he has to, identify his body with the

three vidyas alluded to above.Then he has to perform the

mental sacrifice for the details of which the student is advised
to consult the text p. 48 Malinivijayatantram.
As regards the physical worship the worshipper is to worship
Ganesa as three-eyed, as elephant-headed and as dwarfish in
stature. The puja to Ganesa being over, he has to contemplate
Siva as seated on the sixfold seat of Ananta, Dharma, Jnana,
Vairagya, Aisvarya, and Karnika and as bearing a sword, a
shield, fierce to look at, of great jaws, terrible and with his
eyebrows knit together and surrounded by the eight deities
(matrikas).
Then he should begin the sacrifice. Two vessels, one big and
one small formed of gold and full of perfumed water, should be
placed with two canopies of white cloth over them. Indra and
other deities of the quarters should be requested to watch the
proceedings so as to ward off the malignant influences while.
the smaller vessel, is passed round and its water allowed to
drop. Then he should prepare a kunda for the fire. The fire
should necessarily be got either in a copper vessel or in an
earthen pot and should receive the several ceremonies of birth,
etc. He should perform homa by muttering the mulamantra one
hundred times and the other attendant mantras ten times. The
homa being over, he may rest and go to sleep.
If he sees a good dream he may express it to his disciples and
if otherwise he should perform the homa.
The vows that a Tantric disciple has to observe are:- (A) that he
should always offer worship (a) to his deity, (b) to the fire, (c)to
the spiritual teacher and (d) to the goddesses; (B) that he
should not eat without offering his food to them; (C) that he
should refrain from using the property dedicated to the deity,
the guru and Candi; (D) that he should not even for a moment
engage himself in idle and unavailing pursuits and lastly (E)
that he should either be fixed in the practice of yoga or in that of
the mantra.

When by the proper and satisfactory discharge of the duties

prescribed for him, the disciple gives an unmistakable proof of
his ardent admiration for the Saivism and when consequently
the Saiva teacher also feels justified in initiating him in its
mysteries by his own conviction in the depth and genuineness
of the disciple's longing for the same, the latter should have the
mystic diagrams drawn on the carefully selected piece of
ground in conformity with the rules and regulations detailed in
the Malinivijayatantram. In their centre he should invoke
Bhairava and perform the puja to Him. Thereupon, he should
approach Him with the following:--'At Thy dictate, O Lord, I
have been installed in the position of a preceptor. The disciples
are fully under the sanctifying influence of Sivasakti. They, as
such, deserve Thy favour. They have sought Thy help in
securing it. Therefore, O Lord, I pray, be kind to me and let my
body be enshrined by Thee so that I may be qualified to render
them due assistance.'
The prayer being over, he should believe and feel that the six
kinds of the Path are presided over by Bhairava and that his
body has veritably been penetrated into by the divine spirit and
the cloaks of mala that conceal his kinship with Siva have fallen
one by one laying it entirely bare to him. In this stage he should
identify himself with his disciple and with the path in which the
disciple is to be initiated by the holy faith, 'I alone am the
supreme reality; this whole universe is in me; I am' the stay and
support of this all.'
The unification of the Sishya, the teacher and the rest of the
world into the one ultimate reality is the Nirvana. This is as
regards the outer aspect of initiation.
As regards the inner side, the teacher has to bring in the Jiva of
his disciple from the outside into his own self and then he has
to awaken the serpent force in him and move it up from centre
to centre till it reaches the Brahmic aperture in the head. The
disciple, that is thus united with the supreme principle by his
own spiritual teacher, witnesses the destruction of his bondage

of maya and never, thenceforth, takes his birth and becomes a

pasu.
If the disciple after receiving initiation feels: a strong impulse to
acquire the mystic powers,,he may repair to his guru and obtain
instructions from him regarding the performance of certain
penances leading to that end.
In case the Sadhaka aspires after the attainment of the stage of
Acarya, he must acquire a higher mode of initiation leading to
enjoyment both here and hereafter. The formation of the
diagrams and the kundas and such other external requisites
have no significance in it. He has only to consider and really
believe that his. body has been burnt by the bright fire of
energy enkindled from the tip of the toe up to the cranium
through the help of mahamudra. After that he has to consider
himself as possessed of an ethereal form purged of the
impurities closely accompanying the principle of materiality.
The inspiration of Sivasakti as revealed in him is determined by
the particular movement of Dantakashtha. The reception of the
divine inspiration is betokened by the five states of (1)
happiness, (2) the awakening of the serpent force; (3) the
bodily tremulation, (4) sleep and (5) intoxication. In this initiation
sixty-four lamps are to be lighted and the worship to Siva is
offered in a conch full of herbs and perfumed water with which
the Sadhaka is anointed towards the end of the ceremony.
A spiritual teacher, who has already obtained control over the
different principles constituting the world, must very well
ascertain the tendency of the disciple towards a particular
principle, before he instructs him in the way to achieve success
in securing the conquest thereof. He should never allow him to
swerve from that with which he has made an effort already to
unify himself. He is sure to get union with Siva through that
after enjoying particular privileges peculiar thereto.
But the place must invariably be in all cases very well chosen
for entering upon the yogic practices. It must either be a cave

or a cell with no din of the world and perfectly charming as

regards scenery. It must be a safe retreat from all evil
contaminations.
Such a place very well serves the purpose of the yogi who has
habituated himselfto a particular posture day and night. A man
of the street or a man of the field cannot take to yoga and profit
by that. A candidate for that must have curbed his passions to
the entire subjugation of the mind. He must have had an
established practice in the suppression of breath. All the sense
activities must be under his control. He must have overcome
sleep, anger and the mental restlessness and must be
altogether impervious to pain.
A candidate with such qualifications is entitled to yogic practice
and if he continue to follow the methods adopted for different
dharanas, he is sure to win his conquest of the entire cosmos.
The palm of the glory attendant upon the success in each
dharana from earth to Siva is very well described in the latter
portion of the Malinivijaya. If the seeker after truth dives deeper
in the mysteries of them, he will himself examine the truth of the
statements made so often in connection with the dharanas. His
patience will not be exhausted by the minute details recorded in
relation to the dharanas because the success in one particular
dharana will repay the trouble in an incalculable way.
Srinagar, Kmr.
February 5, 1922
Madhusudan Kaul
* Cf. Tantrasara. The group oThis article is about Hindu
goddesses called mtr ks. For other use, see matrka.
Matrikas
Goddesses of War, Children and
Emancipation.[1]

Shiva (leftmost) with the Matrikas:

(from
left) Brahmani,Maheshvari, Kaumari
, Vaishnavi, Varahi, Indrani,Chamun
da
Devanagari

Sanskrit Transliteratio mtk

n
Affiliation

Devi, Shakt
i

"mother"),
Matrikas (Matrika singular, Sanskrit: mtk,
also called Matara (Sanskrit: mtarah plural, )
and Matri(mtr , singular), is a group
of Hindu goddesses who are always depicted together.[2] Since
they are usually depicted as a heptad, they are
:,
called Saptamatrika(s) (Sanskrit: saptamtkh,
"seven mothers"): Brahmani, Vaishnavi, Maheshvari, Indrani,
Kaumari, Varahi, Chamunda and Narasimhi. However, they
may sometimes be eight
:, "eight mothers").
(Ashtamatrika(s):ashtamtkh,
[3]
Whereas in South India, Saptamatrika worship is prevalent,
the Ashtamatrika are venerated in Nepal.[4]
The Matrikas assume paramount significance in the goddessoriented sect of Hinduism, Tantrism.[5] In Shaktism, they are
"described as assisting the great Shakta Devi (goddess) in her
fight with demons."[6] Some scholars consider
them Shaivagoddesses.[7] They are also connected with the
worship of warrior god Skanda.[8] In most early references, the

Matrikas are described as having inauspicious qualities and

often described as dangerous. They come to play a protective
role in later mythology, although some of their inauspicious and
wild characteristics still persist in these accounts.[9] Thus, they
represent the prodigiously fecund aspect of nature as well as its
destructive force aspect.[10]
In the 6th century encyclopedia BrihatSamhita, Varahamihira says that "Mothers are to be made with
cognizance of (different major Hindu) gods corresponding to
their names."[11] They are associated with these gods as their
spouses or their energies (Shaktis).[10] Originally believed to be
a personification of the seven stars of the star cluster
the Pleiades, they became quite popular by the seventh century
and a standard feature of goddess temples from the ninth
century onwards.[12]
Contents
[hide]

1 Origins and development

2 Iconography

3 Legends
o

3.1 Mahabharata

4 Depictions

5 Associations
o

5.1 Yoginis

5.2 Devanagari Alphabet

6 Worship
o

6.1 In India

6.2 In Nepal

6.3 Tantric worship

6.4 Rituals and goals of worship

7 Notes

8 References

9 External links
Origins and development[edit]

Varahi, one of the Matrikas

According to Jagdish Narain Tiwari and Dilip Chakravati, the
Matrikas were existent as early as the Vedic period and
the Indus Valley civilization. Coins with rows of seven feminine
deities or priestesses are cited as evidence for the theory.[13]
[14]
A Hindu text known as the Rigveda (IX 102.4) speaks of a
group of seven Mothers who control the preparation of Soma,
but the earliest clear description appears in some layers of the
epicMahabharata (dated to 1st century AD).[15][16] Wangu
believes that Matrika description in Mahabharata, is rooted in
the group of seven females depicted on Indus valley seals.[5] It
was assumed that the people locally worshipped these

goddesses, such an example is also described in Zimmer

Heinrich book The Art Of Indian Asia, about the seven shrines
of seven Mother Goddesses worshipped locally. By the fifth
century, all these goddesses were incorporated in mainstream
orthodox Hinduism as Tantric deities.[17][18] David Kinsley
proposes that the Matrikas may be non-Aryan or at least nonBrahmanical (orthodox Hinduism), local village goddesses, who
were being assimilated in the mainstream. He cites two
reasons for his assertion: their description in Mahabharata as
dark in colour, speaking foreign languages and living in
"peripheral areas" and their association with non-Brahmanical
god Skanda and his father, Shiva, who though Vedic has nonBrahmanical attributes.[19] Sara L. Schastok suggests that
Matrikas maybe inspired by the concept of Yakshas, who are
associated with Skanda and Kubera both are often portrayed
with the Matrikas.[20] In contrast to Indus valley origins theory,
Bhattacharyya notes:
[The] cult of the Female Principle was a major aspect of
Dravidian religion, The concept of Shakti was an integral part of
their religion [...] The cult of the Sapta Matrika, or Seven Divine
Mothers, which is an integral part of the Shakta religion, may be
of Dravidian inspiration.[21]
The Sapta-Matrikas were earlier connected with Skanda
(Kumara) and in later times, associated with the sect of Shiva
himself.[8] During theKushana period (1st to 3rd century), the
sculptural images of the matrikas first appear in stone. The
Kushana images merged from the belief inBalagraha (lit
"destroyers of children") worship related to conception, birth,
diseases and protection of children. The Balagraha tradition
included the worship of the infant Skanda with the Matrikas.
The goddesses were considered as personifications of perils,
related to children and thus, were pacified by worship. The
Kushana images emphasize the maternal as well as destructive
characteristics of the Matrikas through their emblems and
weapons. They appear to be an undifferentiated sculptural
group but develop in standard and complex iconographic
representation during the following Gupta period.[22]

In the Gupta period (3rd to 6th century A.D.), folk images of

Matrikas became important in villages.[23] The diverse folk
goddesses of the soldiers like Matrikas were acknowledged by
the Gupta rulers and their images were carved on royal
monuments in order to strengthen the loyalty and adherence of
the armed forces.[24] The Gupta
kingsSkandagupta and Kumaragupta I (c. second half of fifth
century) made Skanda (Kumara)[b] their model and elevated the
position of Skanda's foster mothers, the Matrikas from a cluster
of folk goddesses to court goddesses.[25] Since the fourth
century, Parhari, Madhya Pradesh had a rock-cut shrine been
solely devoted to the Sapta Matrika.[26]
The Western Ganga Dynasty (3501000 CE) kings
of Karnataka built many Hindu temples along
with saptamatrika carvings[27] and memorials, containing
sculptural details ofsaptamatrikas.[28] The evidence of Matrika
sculptures is further pronounced in the GurjaraPatiharas (8th
to 10th century A.D.) and Chandella period (8th to 12th century
A.D.).[29] The Chalukyas claimed to have been nursed by the
Sapta Matrikas. It was a popular practice to link South Indian
royal family lineage to a Northern kingdom in ancient times.
[30]
During the Chalukya period (11th to 13th century), all
Matrikas continued to figure among the deity sculptures of this
period. The Kadambas and Early Chalukyas from the fifth
century praise the Matrikas in their preambles, as giver of
powers to defeat enemies.[31][32] In most of the relevant texts,
their exact number has not been specified, but gradually their
number and names became increasingly crystallized and seven
goddesses were identified as matrikas, albeit some references
indicate eight or even sixteen Matrikas.[33] Laura Kristine
Chamberlain (now Laura K. Amazzone) cites:
The inconsistency in the number of Matrikas found in the valley
[Indus] today (seven, eight, or nine) possibly reflects the
localization of goddesses [.] Although the Matrikas are mostly
grouped as seven goddesses over the rest of the Indian
Subcontinent, an eighth Matrikas has sometimes been added in
Nepal to represent the eight cardinal directions. In Bhaktapur, a

city in the Kathmandu Valley, a ninth Matrika is added to the set

to represent the center.[34]
Iconography[edit]

The Goddess Ambika (here identified with: Durga orChandi)

Leading the Eight Matrikas in Battle Against the
DemonRaktabija, Folio from a Devi Mahatmya (top row, from
the
left)Narasinhmi, Vaishnavi, Kaumari, Maheshvari, Brahmani.
(bottom row, from left) Varahi, Aindri and Chamunda or Kali,
Ambika. on the right, demons arising from Raktabija's blood
The iconographical features of the Matrikas have been
described in Hindu scriptures such as Puranas and Agamasand
the epic Mahabharata. Puranas like Varaha Purana, Agni
Purana,[35] Matsya Purana, Vishnudharmottara Puranaand Devi
Mahatmya, a part of Markandeya Purana as well as Agamas
such
as Amsumadbhedagama,Surabhedagama, Purvakarnagama a
nd Rupamandana describe the Matrikas.
The Ashta-Matrika or Ashta-Matara as described in Devi
Mahatmya is given below.[36]
1. Brahmani (Sanskrit: , Brahmn)
or Brahmi (Sanskrit: , Brhm) is the Shakti (power)
of the creator god Brahma. She is depicted yellow in
colour and with four heads. She may be depicted with four
or six arms. Like Brahma, she holds a rosary or noose
and kamandalu (water pot) or lotus stalk or a book or bell

and is seated on a hamsa (identified with a swan or

goose) as her vahana (mount or vehicle). She is also
shown seated on a lotus with the hamsa on her banner.
She wears various ornaments and is distinguished by her
basket-shaped crown called karan d a mukuta.

2. Vaishnavi (Sanskrit: , Vaisn av), the power of the

preserver-god Vishnu, is described as seated on
theGaruda (eagle-man) and having four or six arms. She
holds Shankha (conch), chakra (Discus), mace and lotus
and bow and sword or her two arms are
in varada mudra (Blessing hand gesture)
and abhaya mudra ("No-fear" hand gesture). Like Vishnu,
she is heavily adorned with ornaments like necklaces,
anklets, earrings, bangles etc. and a cylindrical crown
called kirita mukuta.

3. 'Maheshvari' (Sanskrit: , Mhevar) is the power of

god Shiva, also known as Maheshvara. Maheshvari is
also known by the names Raudri, Rudrani andMaheshi,
derived from Shiva's names Rudra and Mahesh.
Maheshvari is depicted seated on Nandi (the bull) and has
four or six hands. The white complexioned, Trinetra(three
eyed) goddess holds
a Trishula (trident), Damaru (drum), Akshamala (A garland
of beads), Panapatra (drinking vessel) or axe or an
antelope or a kapala (skull-bowl) or a serpent and is
adorned with serpent bracelets, the crescent moon and
the jat mukuta (A headdress formed of piled, matted
hair).
4. Indrani (Sanskrit: , Indrn), also known as Aindri,
(Sanskrit: , Aindr), Mahendri, Shakri, Shachi' and V
ajri, is the power of the Indra, the Lord of the heaven.
Seated on a charging elephant, Aindri, is depicted darkskinned, with two or four or six arms. She is depicted as
having two or three or like Indra, a thousand eyes. She is
armed with the Vajra (thunderbolt), goad, noose and lotus

stalk. Adorned with variety of ornaments, she wears

the kirita mukuta.

5. 'Kaumari' (Sanskrit: , Kaumar), also known

as Kumari, Karttikeyani and Ambika[37] is the power
of Kumara (Kartikeya or Skanda), the god of war. Kaumari
rides a peacock and has four or twelve arms. She holds a
spear, axe, a Shakti (power) or Tanka (silver coins) and
bow. She is sometimes depicted six-headed like Kumara
and wears the cylindrical crown.
6. Varahi (Sanskrit: , Vrh) or Vairali is described as
the power of Varaha the boar-headed form of Vishnu
or Yama the god of death, has a boar head on a human
body and rides a ram or a buffalo. She holds a Danda (rod
of punishment) or plough, goad, a Vajra or a sword, and a
Panapatra. Sometimes, she carries a bell,
chakra, chamara (a yak's tail) and a bow. She wears a
crown called karan d a mukuta with other ornaments.
7. Chamunda (Sanskrit: , Cm und ), also known
as Chamundi and Charchika is the power
of Devi (Chandi). She is very often identified with Kali and
is similar in her appearance and habit.[38] The identification
with Kali is explicit in Devi Mahatmya.[39] The black
coloured Chamunda is described as wearing a garland of
severed heads or skulls (Mundamala) and holding a
Damaru, trishula, sword and panapatra. Riding a jackal or
standing on a corpse of a man (shava or preta), she is
described as having three eyes, a terrifying face and a
sunken belly.
8. 'Narasimhi' (Sanskrit: , Nrasim h), power
of Narasimha (lion-man form of Vishnu), is a woman-lion
and throws the stars into disarray by shaking her lion
mane.
Though the first six are unanimously accepted by texts, the
name and features of the seventh and eighth Matrika are

disputed. In Devi-Mahatmya, Chamunda is omitted after the

Saptamatrika list,[40] while in sculpture in shrines or caves and
the Mahabharata, Narasimhi is omitted. The Varaha Purana
names Yami the Shakti of Yama, as the seventh
andYogishwari as the eighth Matrika, created by flames
emerging from Shiva's mouth.[41] In Nepal, the eighth Matrika is
called Maha-Lakshmi or Lakshmi is added omitting
Narasimhi. In lists of nine Matrikas, Devi-Purana
mentions Gananayika or Vinayaki the Shakti of Ganesha,
characterized by her elephant head and ability to remove
obstacles like Ganesha and Mahabharavi omitting Narasimhi.
[42]

Legends[edit]

9th10th century graniteChola statue of Matrika Maheshvari,

seen with a trident in a hand, adorned by serpent ornaments
and her vahana (mount), the bull Nandi is seen on her seat
Muse Guimet, Paris.
There are several Puranic texts related to the origin of
Matrikas. Matsya Purana, Vamana Purana, Varaha
Purana, Kurma Purana and theSuprabhedagama contain
references to Matrikas, and this asserts their antiquity.[43]
According to the Shumbha-Nishumbha story of Devi
Mahatmya, Matrikas appear as Shaktis from the bodies of the
gods Brahma, Shiva, Skanda, Vishnu, Indra;[44] having form of
each, approached Chandika (identified with Devi) with whatever
form, ornaments and vehicle the god possessed. In that form,

they slaughter the demon army.[7][45] Thus, the Matrikas are

goddesses of the battlefield. They are described as assistants
of Durga having sinister as well as propitious characteristics.
[39]
After the battle, the Matrikas dance drunk with their victim's
blood.[46]This description is repeated with little variation in Devi
Bhagavata Purana.[47] and Vamana Purana.[48] The DeviBhagavata Purana mentions three other goddesses, Shaktis of
other gods in addition to Saptamatrikas making a group of 10
Matrikas.[49]
According to latter episode of Devi Mahatmya, Durga created
Matrikas from herself and with their help slaughtered the
demon army. In this version, Kali is described as a Matrika, who
sucked all the blood of demon Raktabija. Kali is given the
epithet Chamunda in the text. When demon Shumbha
challenges Durga to a single combat, she absorbs the Matrikas
in herself and says that they are her different forms.[50] In the
Vamana Purana too, the Matrikas arise from different parts of
Devi and not from male gods although they are described and
named after the male deities.[51]
In Matsya Purana, Shiva had created seven Matrikas to combat
the demon Andhaka, who had the ability to duplicate from each
drop of his blood that falls from him when he is wounded.[c] The
Matrikas drink up his blood and help Shiva defeat the demon.
After the battle, the Matrikas begin a rampage of destruction by
starting to devour other gods, demons and peoples of the
world. Narasimha, Vishnu's man-lion incarnation, creates a host
of thirty-two benign goddesses who calm down the terrible, firebreathing Matrikas. Narasimha commanded the Matrikas to
protect the world, instead of destroying it and thus be
worshipped by mankind. At the end of the episode, Shiva's
terrible form Bhairava is enshrined with the images of the
Matrikas at the place where the battle took place.[52][53] This
story is retold in Vishnudharmottara Purana.
[54]
Vishnudharmottara Purana further relates them with vices or
inauspicious emotions like envy, pride, anger etc.[55]

In Varaha Purana, they are created from the distracted mind of

goddess Vaishnavi, who loses her concentration while doing
asceticism. They are described as lovely and act as the
goddesses' attendants on the battlefield.[56] In Bhagavata
Purana, when beings created by Vishnu are enlisted; the
Matrikas are listed with rakshasas (demons), bhutas (ghosts),
pretas, dakinis and other dangerous beings. In the same text,
milkmaids offer a prayer for protection of the infantgod Krishna from the Matrikas.[57]
The Devi Purana(6th 10th century) mentions a group of
sixteen matrikas and six other types of Matrikas mentioned,
apart from the Saptamatrikas.[58] It introduces the Lokamatara (mothers of the world), a term used in the Mahabharata,
in the very first chapter. Kind to all creatures, the Matrikas are
said to reside in various places for the benefit of children.[59] The
text paradoxically describes the Matrikas as being created by
various gods like Brahma, Vishnu, Shiva, Indra as well as being
their mothers.[60] Devi Purana describe a pentad of Matrikas,
who help Ganesha to kill demons.[61] Further, sage Mandavya is
described as worshipping the Mtrpacaka
(the five mothers)

named Ambika (Kaumari), Rudrani, Chamunda, Brahmi and

Vaishnavi and who have been established by Brahma; for
saving king Harishchandra from calamities. The Matrikas direct
the sage to perform worship of Mtrchakra(interpreted
as

a Yantra or Mandala or a circular shrine to the Matrikas),

established by Vishnu on the Vindhya mountains, by meat and
ritual sacrifice.[62]
Mahabharata[edit]

A Hoysala sculpture of Chamunda, Halebidu. Surrounded by

skeletons, the goddess has large nails and protruding teeth and
wears a garland of skulls.
The Mahabharata narrates in different chapters the birth of
warrior-god Skanda (the son of Shiva and Parvati) and his
association with the Matrikas his adopted mothers.
In one version, Indra (king of gods) sends the goddesses called
"mothers of the world" to kill him.[15] However, upon seeing
Skanda, instead they follow their maternal instincts and raise
him.[5] In the chapter Vana-parva version, the Saptamatrikas are
mentioned.[15][63] Later in the Mahabharata; when absorption of
these indigenous goddesses in the Brahmanic pantheon was
initiated, a standardized group of seven goddesses the
Saptamatrikas, Shaktis or powers of Brahmanic gods are
mentioned as Brahmi, Maheshvari, Kumari, Vaishnavi, Varahi,
Indrani and Chamunda.[5]
In other accounts of Skanda's birth in Mahabharata, eight
ferocious goddesses emerge from Skanda, when struck by
Indra's Vajra (thunderbolt). These are Kki, Halim,
Mlin, Br hal, ry, Pall and Vaimitr, which Skanda
accepted as his mothers, who stole other children a
characteristic of the Matrikas.[64]
Another account mentions the Maha-matrikas (the great
mothers), a group of the wives of six of the Saptarishis (7 great
sages), who were accused of being Skanda's real mothers and

thus abandoned by their husbands. They request Skanda to

adopt them as his mothers. Skanda agrees and grants them
two boons: to be worshipped as great goddesses and
permission to torment children til they are younger than 16
years and then act as their protectors.[64] These six goddesses
as well as the Saptamatrikas are identified or associated
with Vedic Krittikas, the constellation Pleiades.[65]
The Shalya Parva of the Mahabharata mentions characteristics
of a host of Matrikas, who serve Skanda. Ninety-two of them
are named but the text says there exist more. The Shalya
Parva describes them as young, cheerful, most of them fair but
having dangerous features like long nails and large teeth. They
are said to fight like Indra in battles, invoking terror in minds of
enemies; speak different foreign tongues and lives in
inaccessible places away from human settlements like
crossroads, caves, mountains, springs, forests, riverbanks and
cremation grounds.[66][67][68] Notable among these lists of
Matrikas is Putana, a goddess who tried to kill the
infant Krishna (an incarnation of Vishnu) by suckling him with
poisoned breast milk and consequently killed by Krishna.[69]
Depictions[edit]

Bronze group with (from left) Ganesha; Brahmi, Kumari,

Vaishnavi the 3 Matrikas, and Kubera taken at the British
Museum; Originally from Eastern India, Dedicated in 43rd year
of reign ofPala king Mahipala I (about AD 1043)
The textual description of Matrikas is generally awesome,
frightening and ferocious. In the Mahabharata, all the seven
mothers are described as fatal or serve as threats to foetuses
or infants. They are described as living in trees, crossroads,
caves and funeral grounds and they are terrible as well as
beautiful.[5] But, in the sculptural portrayal, they are depicted

quite differently as protectors and benevolent mothers. They

are armed with the same weapons, wear the same ornaments,
and ride the same vahanas and carry the same banners as
their corresponding male deities.
The Saptamatrkas are generally carved in relief on a
rectangular stone slab in the sequential order of Brahmani,
Maheshvari, Kumari, Vaishnavi, Varahi, Indrani and Chamunda,
being flanked by two male figures a terrible form
of Shiva (Virabhadra) and his son Ganeshain both sides (first
on their right and last on their left). Thus, the Matrikas are
considered Saivite goddesses.[7] They are often depicted on the
lintel slabs of the main door of a Shiva temple mainly
in Jaunsar-Bawar region, with their respective mounts forming
the pedestal.[10] Sometimes, they are occupied by the couple
Uma-Maheshvara (Parvati and Shiva). The earliest instance of
their portrayal with Uma-Maheshvara is at Desha Bhattarika,
Nepal although now the Matrika images have withered away.
[70]
The 12th century Sanskrit author Kalhana mentions worship
of Matrikas with Shiva in Kashmir, his work Rajatarangini.[71]

NatarajaShiva (left) with Virabhadra and the first three

Matrikas. Matrikas are depicted with children Ellora
Three panels of Saptamatrikas appear near the Shiva cave at
Udayagiri, Bhopal.[72] They are also depicted in
the Shaiva caves ofElephanta and Ellora (Caves 21, 14, 16 and
22).[73] In sixth century Rameshvara cave (Cave 21) at Ellora,
"With the terrific aspect repressed entirely, the matrikas are
depicted as benign and are worshipped in adulation. Sensuous,
elegant, tender, beautiful adolescents, they are yet haughty and
grand, quintessentially the creatrix."[74] Karrtikkeyi (Kumari) is
depicted with a child on her lap and even Varahi is depicted

with a human head, rather than the usual boar one.[75] In

Ravana-ka-kai cave (Cave 14), each of the matrikas is with a
child.[76] In eighth century Kailash Temple (cave 16) dedicated
to Shiva of Rashtrakuta period, the Matrikas appear on the
southern boundary of the temple.[26] As the influence
of Tantra rose, the fertility area and upper parts of body in the
Matrika sculptures were stressed.[77]
In each of the four depictions at Ellora, the matrikas are
accompanied by Virabhadra, Ganesha and also on their left
(besides Ganesha) by Kala (Time personified or Death).[78] The
presence of Kala in form of a skeleton, seems to indicate the
darker aspect of the matrikas' nature.[76] At Osian, the Matrikas
is flanked by Ganesha and Kubera (the treasurer of the gods
and a devotee of Shiva) while Virabhadra sits in the middle of
the group.[79] In Gupta and post-Gupta art, like in 6th Century
caves of Shamalaji, the Matrikas are accompanied by Shiva's
son Skanda.
Associations[edit]
Yoginis[edit]
Kaumari, folio from Devi Mahatmya.
Often the Matrikas are confused with the Yoginis, a group of
sixty-four or eighty-one Tantric goddesses.[80] In Sanskrit
literature the Yoginis have been represented as the attendants
or various manifestations of goddess Durga engaged in fighting
with the demons Shumbha and Nishumbha, and the principal
Yoginis are identified with the Matrikas.[81] Other Yoginis are
described as born from one or more Matrikas. The derivation of
sixty-four Yoginis from eight Matrikas became a common
tradition, by mid- 11th century. The Mandala(circle)
and chakra of Yoginis were used alternatively. The eighty-one
Yoginis evolve from a group of nine Matrikas, instead of seven
or eight. The Saptamatrika (Brahmi, Maheshvari, Kumari,
Vaishnavi, Varahi, Indrani and Chamunda) joined
by Chandika and Mahalakshmi form the nine Matrika cluster.
Each Matrika is considered to be a Yogini and is associated
with eight other Yoginis resulting in the troupe of eighty-one

(nine times nine).[82] Thus, Yoginis are considered as

manifestations or daughters of the Matrikas.[83]
The yoginis also occupy an important place in Tantra, one of
their chief temples in India are in 'Ranipur-Jharial' and the
'Chaushathi Jogini' (the 64 yoginis) temple
near Bhubaneswar, Odisha. The rise of Yogini cult is also
analogous to the rise of the Matrikas' cult. Bhattacharyya sums
it this way: "The growing importance of Shaktism [of the
matrikas and yoginis in the first millennium CE] brought them
into greater prominence and distributed their cult far and wide.
[...] The primitive Yogini cult was also revived on account of the
increasing influenced of the cult of the Seven Mothers."[81]
Devanagari Alphabet[edit]
According to K.C. Aryan, the number of Matrikas is determined
in the structure of the Devanagari alphabet. First is the (A)
group which contains the vowels, then the (Ka), (Cha), (Ta),
(ta), (Pa), (Ya) and (Ksha) groups. The seven mother
goddesses (Saptamatrikas) correspond to the
seven consonant groups; when the vocalic (A) group is added
to it, the eight mother goddesses (Ashtamatrikas) are obtained.
[84]
The Shaktas hold that the Mothers preside over impurities
(mala) and over sounds of the language. The Mothers were
identified with fourteen vowels plus the anusarva and visarga
making their number sixteen.[85]
In Tantra, the fifty or fifty-one letters including vowels as well as
consonants from A to Ksha, of the Devanagari alphabet itself,
the Varnamala of bija, have been described as being the
Matrikas themselves. It is believed that they are infused with
the power of the Divine Mother herself. The Matrikas are
considered to be the subtle form of the letters(varna). These
letters combined make up syllables (pada) which are combined
to make sentences (vakya) and it is of these elements
that mantra is composed. It is believed that the power of mantra
derives from the fact that the letters of the alphabet are in fact
forms of the goddess.[86] The 50 Matrika Kalas are given in the
same account as follows: Nivritti, Pratishtha, Vidya, Shanti,

Indhika, Dipika, Mochika, Para, Sukshma, Sukshmamrita,

Jnanamrita, Apypayani, Vyapini, Vyomarupa, Ananta, Srishti,
Riddhi, Smriti, Medha, Kanti, Lakshmi, Dyuti,
Sthira, Sthiti, Siddhi, Jada, Palini, Shanti, Aishvarya, Rati,
Kamika, Varada, Ahladini, Pritih, Dirgha, Tikshna, Raudri,
Bhaya, Nidra, Tadra, Kshudha, Krodhini, Kriya, Utkari,
Mrityurupa, Pita, Shveta, Asita, Ananta.[87] Sometimes, the
Matrikas represent a diagram written in the letter, believed to
possess magical powers.[88]
Worship[edit]
In India[edit]

Shrine of the "Seven Mothers" inRamanathapuram District,

Tamil Nadu.
According to Leslie C. Orr, the Saptamatrika, who first
appeared in South India in the eighth century, had once
temples dedicated exclusively to them, but the ninth century
onwards, they were demoted to status of "deities of the
entourage" (parivara devata) of Shiva. Their images moved
from the sanctums to corners of temple complexes and now
they are as guardian deities in small village shrines.[89]The
Saptamatrikas are worshipped as Saptakanyakas (the celestial
nymphs) in most South Indian Shiva temples. But the
Selliyamman temple at Alambakkam in Tiruchirapalli district (In
1909 called Trichonopoly district) is important in worship of the
Matrikas. Here once stood a temple dedicated to the
Saptamatrika, which was replaced by the present temple.[90]
In India, shrines of the Saptamatrikas are located in "the
wilderness", usually near lakes or rivers, and are made of

seven vermilion smeared stones. It is believed that the Matrikas

kill fetuses and newborns unless pacified with bridal finery and
prayers by women.[91]Devdutt Pattanaik says: "The cult of the
Seven Mothers is found all over India. ... Pregnant women and
nursing mothers worship them. When these goddesses are
angry, they make women barren and strike newborns with fatal
fevers. When they are appeased, they ensure the health and
happiness of children."[92] A prominent Saptamatrika temple is
located near Baitarani River,in Jajpur.
The Saptamatrika images are worshipped by women
on Pithori new moon day, with the 64 yoginis represented by
rice flour images or supari nuts. The goddesses are worshipped
by ceremonial offerings of fruit and flower and mantras.[93]
In Nepal[edit]

Vaishnavi or Bishnuvi (top) and Brahmayani in the Bhairab

Naach
The Matrikas function both as city protectors and individual
protectors in both Hinduism and Buddhism. The Astha matrika
are considered asAjimas (grandmother goddesses, who are
feared as bringer of disease and misfortune as well act as
protectresses) in the Newar pantheon. Temples (pithas i.e.
seats) of the ashta matrika built in and around Kathmandu are
considered powerful places of worship.[94]

The pithas are usually open-air shrines, but may be closed

structures too. In these pithas, the Matrikas are worshipped
with their followers (ganas) in form of stone statues or natural
stones, while in dyochems (god-houses) in towns and villages,
they are represented in brass images. The brass images
(utsav-murtis) are paraded around town and placed at their
respective pithas once every year. Like Vishnudharmottara
Purana (discussed in Legends), the Matrikas are considered as
representing a vice and are worshipped by pithapuja (a
pilgrimage around the pithas) to free oneself from them.
[95]
Though each pitha is primarily dedicated to a Matrika, the
other Matrikas are also worshipped as subordinate deities.
[96]
The pithas, which are "theoretically located at the outer
boundaries of the city" are said to form a
protective mandala around the city and assisted to a certain
compass point.[97] In other temples like the ones dedicated
to Pacali Bhairava, the Asthamatrikas are worshipped as a
circle of stones.[96] In Bhaktapur, the Ashtamatrikas are believed
to the preserver goddesses of the city guarding the eight
geometrical directions. Mary Sluser says "Not only do
the Mtr ks guard the compass points but they are also
regarded as regents of the sky." [98] Sometimes, they are paired
with the Ashta Bhairava (Eight aspects of Bhairava) and
sculpted on temple roofs or terraces. Nepali Buddhists worship
the Matrikas as described in Dharanisamgrahas.[99]
The Malla king of Nepal Srinivasa Malla built
the Patan durbar (court) in 1667 AD and is believed to have
seen the Matrikas dance in the durbar one night. The king
ordered that the Ashta-matrika be worshipped during the
Ashwin Navaratri and cost is defrayed by the durbar. The
custom continues til this day.[100] Another festival Ghorajatra is
celebrated in Patan with animal sacrifices to the Matrikas.[101]
In the Kathmandu valley of Nepal, the Ashta-matrikas with a
central village goddess are worshipped as protectors of the city
or town. They are identified with the guardians of directions
(digpala), places (lokapala) or lands (kshatrapala), satiated by
blood sacrifice. Newar Buddhists associate the Matrikas with 24

human qualities, which can mastered by visiting three sets of

eight Matrika pithas.[102]
Tantric worship[edit]

Saptamatrika with Ganesha, atPanchalingeshvara

temple inKarnataka.
The 7th century Sanskrit author Banabhatta mentions the
propitiation of Matrikas by a Tantric ascetic in
his Harshacharita.[103] The text mentions use
of mtrmandala
(mandala of the Matrikas) or Yantra along with

a special anusthana (ritual) to cure the ailing king.[104] The text

describes "young nobles [..](of the king) burning themselves
with lamps to propitiate the Matrikas in a temple dedicated to
the Matrikas (matr -gr
ha).

Banabhatta's Kadambari, Bhasa's Crudatta, Shudraka's Mrich

akatika mention the ritual offerings of food and shrines of
Matrikas at crossroads.[31] Other offerings include flowers and
clothes and meat and wine for some Matrikas. Tantric works
like Tantrarja-Tantra (unknown date, author)
and Kulacdmani discuss the worship of Matrikas as Shaktis
or letters of the alphabet.[105] A process of this worship, Matrikanyasa (lit. "installation of the Mothers"), is described in Devi
Gita, part of Devi Bhagavata Purana.[106] It involves installation
of powers of Matrikas as letters of the alphabet in one's
body, by "feeling the deity worshipped in different parts of the
body" like head, face, anus and legs and reciting mantras.
[107]
The Hrillekha-matrika-nyasa, a more specialized form
of Matrika-nyasa, combines the installation of "most powerful
set of all letters (Matrikas)" with the seed syllable Hrm of
Goddess Bhuvaneshvari.[108]
Stone inscriptions of Tantric worship of The Matrikas are found
in Gangadhar, Rajasthan(by king Vishvavarman- 423 C.E.,
identified as the first epigraphic evidence of Tantra worship);
in Bihar (by Guptas fifth century) and in Deogarh, Uttar

Pradesh (by Svmibhat a sixth century).[31] The Gangadhar

inscripture deals with a construction to a shrine to Chamunda
and the other Matrikas, "who are attended by Dakinis (female
demons)" and rituals of daily Tantric worship (Tantrobhuta) like
the ritual of Bali (offering of grain).[104]
The eight Matrikas are said to reside the second line
of bhupura in Sri Chakra. They are frequently aligned with the
Eight Bhairavas, as in Jnrn ava Tantra. The Svacchand a
Tantra(1.33) explains that the primary function of Matrikas is to
preside eight groups (vargas) of letters of Devanagari alphabet,
while Brahmaymala states they issue originate from the
vowels.[109]
Rituals and goals of worship[edit]
The Natya Shastra (13.66) recommends worship to Matrikas
before setting up the stage and before dance performances.
[19]
Indra declares in chapter 90 of Devi Purana that the Matrikas
are the best among all deities and should be worshipped in
cities, villages, towns and shields.[110] Matrikas are generally to
be worshipped on all occasions withNavagraha (the nine
planets) and the Dikpala (Guardians of the directions) and at
night with the Goddess.[111]
The Matsya Purana and Devi Purana prescribe that Matrika
shrines should be north-facing and be placed in northern part of
a temple-complex.[112] The temples of the Matrikas are found
earliest dating to the fourth century and from textual evidence, it
is predicated that "there must be impressive shrines all over the
[Indian] subcontinent".[113] Although circular Mandalas and
Chakras are mentioned in religious texts, most existing shrines
are rectangular in nature. Pal speculates that earlier circular
shrines, which open to the sky or under trees of less durable
material were replaced by the Guptas in stone as rectangular
shrines.[71]
The Devi Purana mentions the Matrikas or Deva
Shaktis (powers of the gods) as group of seven or more, who
should be worshipped for Mukti (liberation) by all, but
particularly kings for powers of domination.[72] The Saptamatrika

are worshipped for "personal and spiritual renewal" with Mukti

as the ultimate goal as well as for powers to control and rule
and earthly desires (Bhukti).[114] Also important are the banners
of the Saptamatrikas, which are carved outside the Udayagiri
caves. These banners are called "Indra's sisters" in the Devi
Purana. The Purana lists them as: swan, bull, peacock, conch,
discus, elephant and skeleton attributes of the Matrikas. A
king installing these banners is believed to get mukti and
bhukti. As per the Nitisara, Matrikas acted as the king's tangible
Shaktis and conferred the power to conquer and rule.[115]
Notes[edit]
1.

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f perceivers designated Mantramahesvaras is domineered over

by Sadasiva. At this stage objectivity is dim and is wholly
overshadowed by subjectivity. The Mantramahesvaras carry on
their functions under the supervision of Isvara. This stage is
marked by the polarity of objecjtivity and subjectivity. The
Mantras under the guidance of Anantabhattaraka find their
place at the stage of Suddhavidya. It gives rise to the multiform
objectivity. At the stage intervening between Suddhavidya and
maya, Vijnanakevalas only are in existence as pure cognition.
Maya is peculiar to Pralayakevalas. The principles from maya
down to the earth is the sphere of Sakalas.
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