Shakti Rupa

A comparative study of female deities in Hindu, Buddhist and Bon Tantra

URMI CHANDA-VAZ

Dissertation for PG Diploma in Comparative Mythology, 2013-14

Department of Sanskrit, University of Mumbai
 INTRODUCTION

One of the most misunderstood and even feared cults among Hindus are perhaps the
Tantrics. On one hand, the word 'Tantric' evokes images of scary-looking Aghoris,
smeared in ash and indulging in 'unspeakable' rituals in cremation grounds. On the other,
one is reminded of the somewhat laughable Bollywood prototype of exorcists, who
mumble funny incantations like 'Jai Kali Kulkuttay-wali...', while beating up
unsuspecting characters with jhadoos, trying to exorcise their 'bhoots'.

An ash-smeared Aghori with a kapala (human

skull)

The common man prefers to stay at an arm's length from the practitioners of Tantra,
considering them religious delinquents. I grew up with these prejudices too, listening to
masked warnings about 'those people who tread the dark side'. My interest in Tantra was
piqued by Robert E Svoboda's acclaimed book 'Aghora: At the Left Hand of God', which
led me to other books on the subject. The more I read, the more I was amazed at the
depth of Tantric philosophy. In Tantra, philosophy, ritual, symbolism and iconography
are very closely connected. Tantric art is a means to spiritual development and
realisation. Tantric art comprises tranquil renderings of abstract forms like the universe,
Yantras, etc. on one hand, and violent, emotional iconographic images portraying the
terrifying aspects of Prakriti on the other. Art is nothing but metaphysics visualised in
Tantra. Whatever the path, iconography helps transport a Tantric closer to his God.

The Sri Yantra

In this paper, I start with an exploration of what Tantra is, when and how it originated,
its dissemination in and around Asia, the different schools of thought and their basic
philosophies, finally coming to the Goddesses they worship.

In common perception, Shiva and Shakti are two indispensable principles of Tantra. But
in some Tantric schools, the male principle is not Shiva, but Vishnu or even Buddha.
However, Shakti is common to all schools and I have therefore, chosen to study most of
the female principles or manifestations of Shakti. The idea is to compare and contrast
the goddesses as worshiped by the different schools of Tantrism– Hindu, Buddhist and
Bon - across India, China, Japan, Tibet, Sri Lanka and some other Asian nations. While
I've tried to cover most female deities, there may be many I am not aware of. Shakti
Rupa is a study of Tantra's most recognised female forms.
So, what is Tantra?
Tantra has been variously called a philosophy, a cult, a style of meditation and a sub sect
of Hinduism. The earliest reference is found in the Rig Veda, where the word Tantra
finds mention. Tantra is a Sanskrit word derived from the root tan-, which means 'to
elaborate'.

Writers Ajit Mookerjee and Madhu Khanna of 'The Tantric Way' eloquently define
Tantra as under:
(From the etymological point of view) Tantra means knowledge of a systematic and
scientific experimental method which offers the possibility of expanding man's
consciousness and faculties, a process through which an individual's inherent spiritual
powers can be realised. In the looser sense, the term Tantra is used as a label for any
form of 'expanded' literature... almost like as a suffix (like the Sanskrit term, Shastra) to
indicate systematic treatise.

In this context, they cite the importance of differentiating between authoritative doctrine
and pseudo-tantra texts with names like Rakshasi Tantra. Such flexible connotations,
they say, are responsible for the misrepresentation of Tantra.

A more metaphysical definition comes from the 10th-century Tantric scholar

Rāmakaṇṭha, who belonged to the dualist school Śaiva Siddhānta:
A tantra is a divinely revealed body of teachings, explaining what is necessary and what
is a hindrance in the practice of the worship of God; and also describing the specialized
initiation and purification ceremonies that are the necessary prerequisites of Tantric
practice.

While American scholar David Gordon White offers a more scholastic view:
Tantra is that Asian body of beliefs and practices which, working from the principle
that the universe we experience is nothing other than the concrete manifestation of ,
the divine energy of the godhead that creates and maintains that universe, seeks to
ritually appropriate and channel that energy, within the human microcosm, in creative
and emancipatory ways.

In short, Tantrism is a (mostly) dualist, Agamic (non-Vedic) tradition within the Hindu
fold, which recognizes the male and female aspects of divinity, has a number of ritual
practices associated with it and has existed from the pre Vedic era.

Origin and Dissemination of Tantra

Most modern research suggests that Tantra developed parallelly with the Vedas around
6000 years ago in the Indus Valley Civilization. Archeological evidence in the form of
seals depicting Shiva as a yogi surrounded by animals as Pashupati (see image below),
and statues of mother goddesses point to cults that followed imagery similar to Tantric
philosophies. In a free and refined Dravidian society, before the supposed Aryan
Invasion, Tantra evolved as a system for self-realization as a precursor to Hinduism and
Buddhism.

A seal of Pashupati Shiva found at the Indus

Valley
The Vedas and Tantras, though fundamentally varying schools, influenced and borrowed
from each other, although Tantra was sidelined by what came to be known as the Vedic
culture. Tantric knowledge and practices, also called Agamic, were said to have been
handed down in the oral tradition, because the first recorded Tantric scripture came
about only 500 too 700 years ago. This ancient text is called Vigyan Bhairav Tantra,
originally a conversation between Shiva, sometimes also referred to as Sadashiva, a
Tantric master and his consort Devi (or Parvati). The text is a chapter from the
Rudrayamala Tantra, a Bhairava Agama.

Shiva’s teachings, composed in a concise, poetic manner, are called Sutras. They
comprise 112 methods of meditation (dharanas). Each Sutra elaborates upon a certain
facet of our being. This approach embraces sensual love between men and women as an
integral part of spiritual evolution. An important aspect of Shiva’s teaching is an equal
balance between male and female principles.

The re-discovery of Vigyan Bhairav Tantra happened through an Indian mystic named
Gorakh, who lived in the 12th century and was of enormous influence for the Tantric
renaissance. Following this re-discovery, Tantrism developed into a fully-articulated
tradition by the end of the Gupta period, especially during the reign of King Abhinava
Gupta. The Gupta Age was also known as the “Golden Age of Hinduism.”

However, after the end of the Gupta Empire, followed by the collapse of the Harsha
Empire, there was a decentralization of power, giving rise to religious regionalism and
consequently rural devotional movements and local cults. Shaivism, Vaishnavism,
Shaktism, and Bhakti were some such movements, and each carried forth some elements
of Tantra, thereby splitting into different Tantric schools of thought in different parts of
India. Around the same time, Buddhism lost its sway in India and traveled to other Asia
nations, carrying strong Tantric influences with it.
 A Gupta sculpture from 5 CE,
depicting Maithuna

About Tantrism's influence on other religions, Wikipedia states:

The Tantric method affected every major Indian religion during the early medieval
period (c. 500–1200 CE); the Hindu sects of Shaivism, Shaktism, Vaishnavism and also
Buddhism and Jainism developed a well-documented body of Tantric practices and
doctrines, and Islam in India was also influenced by Tantra. Tantric ideas and practices
spread from India to Tibet, Nepal, China, Japan, Cambodia, Vietnam and Indonesia.
Tibetan Buddhism and some forms of Hinduism show the strongest Tantric influence, as
do the postural Yoga movement and most forms of American New Age spirituality.

A Buddhist Tantric sculpture

As ideas of Tantrism traveled, they were adopted by different cultures, but not before
amalgamating them with local beliefs. Today, there are numerous schools of Tantra, each
with its ideological and iconographic set. What follows is a classification of the different
schools of Tantric practices in Asian nations and their basic tenets.

MAJOR
HINDU TANTRAS

Saura Sri Vidya Shaiva Ganapatya Kula or Vaishnav

Trika or
Kashmir Kaula Sahajiya

Shaiva Kapalikas Purva Kaula Uttara Kaula

Siddhanta

Hindu Tantras
The Hindu Tantric tradition, as mentioned above, dates back to the pre-Aryan age. Some
of the major religious sects in Hinduism include Shaiva, Shakta or Kula/Kaula, Trika or
Kashmir (Shaivism), Sri Vidya, Ganapatya, Saura, and Vaishnav. Each of these schools
can be subdivided into the Right Hand, Left Hand and even Middle Paths, called
Dakshinachara, Vama Marga and Madhya Marga respectively. It is the Vamamarga,
which is usually identified with Tantra, although some Tantric schools follow the Right
Hand path. While each sect may have many other sub sects, I will touch upon only the
basic tenets and deities of worship of each school in the section below:
Tantric Shaivism: Of the different kinds of Shaivism, Shaiva Siddhanta is normative
of the Tantric tradition and from them came the rites, cosmological and theological
constructs. Likewise, the Kapalikas, or skull-bearing ascetics are also an important
Tantric branch of Shaivism. Shaiva Siddhanta is a Mantra Marga [Mantra marga is a
path that teaches that the stepwise progression to liberation through mastery of mantra-
siddhis], and its adherents worship Shiva as their primary deity and follow the scriptural
canon of Tamil Shaiva Siddhanta. The concept of Shakti is implied, but there is not
much importance is accorded to the female divine. However, the Kapalikas are known to
worship goddesses like Chamunda and Ankala Parameshwari. The latter is also
known as Ankalamma or Angalamma, who is sometimes counted among the Sapta
Matrikas.

The fierce-looking deity, Ankala Parameshwari, is

especially revered among the Kapaliks in South India.
She is considered a form of Kali.
Trika or Kashmir Shaivism: Kashmir Shaivism is one of the few exceptions among the
Tantric schools of thought, as it is non-dualist in its philosophy. The schools believe in
one Universal Consciousness (Shiva), but consider the phenomenal world (Shakti) as
real, where many individual souls (Anu) reside. Kashmir Shaivism comprises a number
of triad concepts like Shiva-Shakti-Anu, three fundamental states of consciousness
jagrat-swapna-susupti, and the Shaktis Parā, Parā-aparā & Aparā among others. Hence,
it is also known as Trika (three-fold) darsana.

The trident (triśūlābija maṇḍalam), symbol

and yantra of Parama Shiva, representing
the triadic energies of parā, parā-aparā
and aparā śakti

The goal of Kashmir Shaivism is to merge in Shiva or Universal Consciousness, or

realise one's already existing identity with Shiva, by means of wisdom, Yoga and grace.

Kula/Kaula Tantra: Loosely translated, Kula can mean clan, and the followers of the
Kula or Kaula school thus belong to a tightly-knit and often secretive clan. Gavin Flood
opines that Kaula is derived from the Kapalika tradition, and is also closely related to the
Siddha and Natha traditions. The Kaula school can be divided into Purva Kaula and
Uttar Kaula, whereby the Purva Kaulas may refer to the right hand path and also those
who worship the Devi as a wife or mother, while the Uttara Kaulas may refer to the left
hand path or those who worship the Devi as virgin.

Wikipedia notes that 'Kaula sects are noted for their extreme exponents who recommend
the flouting of taboos and social mores as a means of liberation.' The observance of the
Panchamakara tradition (the 5 Ms of madya-wine, māṃsa – meat, matsya -fish, mudrā -
parched grain, and maithuna - spiritual sexual intercourse) is an example. In 'Hindu
Goddesses: Beliefs and Practices' authors Lynn Foulston, Stuart Abbott describe the
Kaula tradition as 'a Shiva-Shakti form of Tantra in which manifestation is understood
and worshipped as a form of the Great Goddess.' Some forms of this 'Great Goddess'
worshipped by the Kaulas include Kali, the uncommon Kubjika, Yoginis and the Yoni
tantra.

The hunchbacked goddess, Kubjika

The goddess Kubjika is variously addressed as: Kubjinī – the Hunchback Girl, Kubjī,
Kujā, Kujī, Khañjinī – the Lame One, Vakrikā or Vakrā – the Crooked One, Ciñcinī – the
Goddess of the Tamarind, Kulālikā – the Potteress, Ambā or the vernacular form Avvā,
and Anāmā, Laghvikā and, most common of all, Śrī – the Royal One who has as her
scripture, teaching, school and tradition (anvaya, āmnāya) the Śrīmata.

Sri Vidya Tantra: Sri Vidya tantra is one of Shaktism's principal branches, especially
prevalent in South India. Its adherents worship Tripurasundari (Beautiful Goddess of the
three cities or worlds), also known as Bhuvaneshwari, Lalita, Maha Tripurasundari,
Rajarajeshwari, or Sodasi.

A statue of Lalita at a British

museum

The extensive Sri Vidya Tantra literature underlines that this beautiful goddess is
supreme, transcending the cosmos that is her manifestation. She is worshiped in the
form of Sri Yantra or Sri Chakra, a mystical diagram, a central focus and ritual object
composed of nine intersecting triangles. Its 3D form is called the Meru Chakra.
Vaishnav Sahajiya: Vaishnav Sahajiya is a Tantric sect of the Vaishnavs or followers of
Vishnu. Among texts, they follow the Pancharatra Agama. An intersting scripture among
these agamas is the Laksmi Tantra. The word 'Sahajiya' comes from 'Sahaj', which
means easy or natural, implying an 'easy path (to god)'. The Sahaja as a system of
worship was prevalent in the Tantric traditions common to both Hinduism and
Buddhism in Bengal as early as the 8th–9th centuries. It is generally considered
Vamachara (left hand path), as they seek religious experiences through the
Panchamakara. Among Vaishnav Sahajiyas, the romance between Krishna and Radha as
a metaphor for union with God, and sought to experience that union through its physical
reenactment. Also, the Ashta Sakhis (Lalita, Vishakha, Chitra devi, Sri
Champakalata,Tungavidya, Indulekha, Rangadevi and Sudevi) are sometimes
considered as embodiments of the Ashta Siddhis (Aṇimā, Mahima, Garima, Laghima,
Prāpti, Prākāmya, Iṣiṭva, and Vaśitva).

The Ashta Sakhis (eight female friends) with Radha-Krishna

Shunned for their sexual tantric practices, the Vaishnav Sahajiyas operate in secrecy,
often employing Sandhya Bhasa – a coded language, which only initiates can
understand. The Bauls of Bengal, who are singing itinerants, are related to this sect.
Ganapatya Tantra: Today, the Ganapatya is not as popular as the other Tantric sects,
but it had definitely seems to have seen followers in great numbers towards the end of
the Gupta period. Ganapatya is a breakaway cult from Shaivism, whereby its followers
proclaimed Ganapati to the Supreme God or Brahman as also the creator, preserver and
destroyer. When the influence of Shaktism started growing, consort figures to Ganesha,
who was originally a bachelor God, were introduced in this fold,.This widened the
iconographic scope of Ganapatya tantra. The five principal deities (and related sub sects)
among Ganapatyas are Ucchishta Ganapati, Maha Ganapati, Urdhva Ganapati, Pingala
Ganapati and Lakshmi Ganapati.

A sculpture of Mayureshwar Ganapati with

his consorts Buddhi and Siddhi.

There are many other forms of Ganesha, and many of them are represented with Shakti
as a consort. Some examples are Ucchishta Ganpati, Shakti Ganapati, Uddanda Ganpati,
Vara Ganapati, Maha Ganapati, and Vighna Ganapati among others. Lakshmi Ganapati
is shown with two consorts – Lakshmi and Saraswati, as is Mayureshvara with the
consorts – Buddhi/Riddhi and Siddhi. Ganesha is also known to have an association with
the Ashta Siddhis, as represented in Raja Ravi Varma's painting.

Raja Ravi Varma's painting of

Ganesha with the Ashta Siddhis

Rather than Shakti as Parvati [who is Ganesha's mother], these female entities are
impersonal figures. Paul B. Courtright, in his book, 'Ganesa: Lord of Obstacles, Lord of
Beginnings' observes that “these women are more like feminine emanations of his
androgynous nature - Shaktis rather than spouses...”. About the Ashta Siddhis, some
scholars like Lawrence Cohen in his book 'Wives of Ganesha' also suggest that “They
are depersonalized figures, interchangeable, and given their frequent depiction fanning
Gaṇeśa are often referred to as dasīs — servants... He was their mālik, their owner; they
were more often dasīs than patnīs.”

Saura Tantra: This minor sect, also a breakaway from the Shaiva school, worships the
sun (surya), which gives it its name – Saura (of the sun). Though they may appear to
worship the physical sun, the real object of worship is that of which the sun is but a
symbol: the absolute (Brahman). The followers of sun worship in India are found mainly
in Assam, Orissa and Bengal, although the cult is dwindling.
 BUDDHISM

Hinayana/ Theravada Vajrayana Mahayana

Nepalese Burmese Ari Chinese Esoteric Japanese Tibetan

Newar Buddhism Buddhism Shingon Buddhism
Buddhism Buddhism (Anuttarayoga)

Nyingma Kagyu Sakya Gelug

Tantric Buddhism
Tantric Buddhism is an extremely complex system of thought with multiple sects and
sub sects, each with a different ideology. The three major schools under Buddhism are
Hinayana (sometimes also identified with Theravad), Mahayana and Vajrayana. The
theological constructs differ from country to country; for example, Tantric Buddhism in
India varies a lot from Tantric Buddhism in say, Tibet, or Japan or China. To complicate
matters further, each school divides practice into a number of Yanas. In Mahayana, for
example, a single Yana called Ekayana is mentioned, while the Nyingma school of
Tibetan Buddhism offers upto nine yanas of classification.

The above diagrammatic representation is very generic and does not take into account
every known Buddhist Tantric sect in existence.
It gives a very broad classification of the most recognised Buddhist Tantric sects in Asia.
I shall also avoid going into descriptions of each of these schools of Buddhist thought,
for the theological constructs are of no import to this paper. The female deities, which
often overlap in these schools, shall be dealt with in detail subsequently. What follows is
a short description of Vajrayana, which is the umbrella term for everything in Buddhist
Tantrism.

A Garbhadhatu Mandala, featuring representing

Vairocana Buddha surrounded by eight Buddhas and
bodhisattvas (clockwise from top: Ratnaketu,
Samantabhadra, Samkusumitaraja, Manjusri,
Amitabha, Avalokitesvara, Dundubhinirghosa,
Maitreya). This mandala is a good example of the rich
iconography of the Vajrayana school of Buddhism.

Vajrayana
Associated with Tantric practices, Vajrayana is one of the three main schools of
Buddhism, the other two being Hinayana/ Theravad and Mahayana. Vajrayana is also
known as Tantric Buddhism, Tantrayāna, Mantrayāna, Secret Mantra, Esoteric
Buddhism and the Diamond Way or Thunderbolt Way. Vajrayāna is a complex and
multifaceted system of Buddhist thought and practice which evolved over several
centuries, with the first texts being found in India in the 3rd century. Vajrayana preachers
travelled forth and spread it to countries like Tibet, Japan, China, Indonesia, Mongolia,
etc., where multiple sub sects developed over time.

Philosophically speaking, the goal of Vajrayana (as in Mahayana) is to become a

Boddhisattva with the help of ritual practices. Rituals and deity worship are two prime
characteristics of Vajrayana. Presently, there are very few practitioners of Vajrayana
Buddhism in India. All female deities discussed further in this paper in the context of
Vajrayana will be non-Indian with a reference to the school to which they belong.

TANTRA IN BON

Lower Tantras Higher Tantras

Kriya Tantra Charya Tantra Chöd Father Tantra Mother Tantra

Bon Tantrism: Bon arose around the 14th century, and spread in Tibet and surrounding
areas. It is often considered an ancillary version of Buddhism for scholarly reasons, but
its adherents do not agree. Bon has a mix of Tantric and local tribal practices, and a host
of protecting deities attached to it. Of the different methods used for enlightenment and
liberation, are the 'Nine Vehicles', as also Sutra, Dzogchen and Tantra.
Tantra in Bon is divided into Lower and Higher Tantras. These are further divided into
Kriya and Charya Tantra in Lower Tantras and Chod, Father and Mother Tantras in
Higher Tantras.

The Bon pantheon of gods and goddesses

Lower Tantras: In the practice of Lower Tantra, practitioners visualize themselves as

deities and completely transform themselves into that deity. They embody all of that
deity’s emotions, strengths, wisdom and healing potential.

Higher Tantras: In the higher tantric practice, the essence of the practice is the
unification of bliss and emptiness. The sensation of bliss is often depicted in the tantric
practice with the Yab-Yum deities (the pair of male and female deities) through the
sensation of sexual bliss. Whereas in the dramatic practice of Chöd (from the root word
'Cho', which means 'to cut'), a yogin visualizes giving his or her own sacrificed body to
the gods and demons as a way to cut the attachment to self and ordinary reality.
 Female deities in Tantric practices
A summary of the major Tantric traditions among the Hindu, Buddhist and Bon religions
shows how female deities are common to all. A comparative study of these goddesses
will be attempted herewith, classifying them as consort goddesses, mother/benevolent
goddesses, warrior/destructive goddesses as also clusters of female deities/goddesses. I
hope to draw out the similarities and differences in the iconography of these traditions
and make a note of the most striking features of these deities. The following table offers
an overview of the female deities considered in this study.

Category Warrior/
Consort Creator Destructive Deity clusters
Tantric Goddesses Mother/ Goddesses
School Benevolent
Goddesses
HINDU
Shaivism Chamunda, Bhairavi Dasa
(Shaiva Uma/ Parvati Parvati Mahavidyas
Siddhanta)
Kaula/ Shakta
[In Kaula, the Adi Parashakti, Sapta / Ashta or
supreme goddesses Lajja Gauri, Kali Shodash Matrikas,
have Bhairavas as Bhadrakali, Yoginis,
their consorts] Mahadevi Navadurga

Vaishnava Radha, Lakshmi, Maha Lakshmi, Ekanamsha Ashta Sakhis,

(Pancharatra Bhoodevi & Lakshmi (identified with
and Lakshmi Sridevi Ashta Siddhis)
Tantra)
Sri Vidya - Lalita Tripura - Yoginis
Sundari

Trika/ Kashmir - Kali Guhyakali Para-Parapara-

Uma Apara,
Ganapatya Shakti - -
Sapta Matrikas,
Ashta Siddhis
Category Warrior/
Tantric Consort Creator/ Destructive Deity clusters
School Goddesses Mother/ Goddesses
Benevolent
Goddesses
BUDDHIST Vajravarahi, Samanta-bhadri, Palden Lhamo, Dakinis/
Sparshavajra, Nairatmya, Ekajati/ Blue Tara, Khandromas,
Yeshe Tsogyal, White Tara, Green Vajrayogini/ Krodha 28 Ishwaris,
Vishwamata, Tara, Kali/ Troma 4 Gatekeepers, 8
Vajravetali, Svabha Prajnapara-mita, Nagmo, Red Tara/ Gaurima or
Prajnya Yumka Dechen Kurukulla, Black wrathful deities, 5
Gyalmo Tara, Sitatpatra/ Tseringmas, 12
Dukkar, Guhya Tenma goddesses
Jnana Dakini
BON Kyema Marmo, Satrig Ersang/ Sipe Gyalmo, Great Mother
Khala Dugmo, Kun Sherab Chamma, Yeshe Walmo Goddesses,
Grags Ma Dedol Jamma Dakinis, 12 ruling
goddesses of Tibet

Lajja Gauri, though not a deity, is a popular

icon in the Hindu Tantric culture, symbolising
fertility.
Consort Goddesses
While as consorts, goddesses have a secondary or passive role, they are instrumental in
Tantric imagery. The Purusha cannot do without Prakriti to create and run the cosmos.
Some popular Male-Female deity in Hindu tantra fold include Shiva-Shakti (Shaivism),
Vishnu-Lakshmi or Radha-Krishna (Vaishnavism), Ganesha-Shakti (Ganapatya) and
Akshobhya-Locana, Chakrasamvara-Vajravarahi and Samantabhadra-Samantabhadri in
Vajrayana Buddhism. Where the consort is meant to be given equal status, the male and
female icons are joined together as in Ardhanarishwara (Shiva-Parvati combined), or
Vaikuntha-Kamalaja/ Ardhapurusha (Lakshmi-Narayana combined).

Bronze sculptures of Ardhanarishwar (left) and Vaikuntha-Kamalaja, which is

seen more commonly in Nepal (right)

Where the Shakta schools of Tantra come into question, the divine male counterpart
assumes the passive role of a consort, while the divine feminine is the supreme. For
example, in Kaula Tantra, the goddesses have Bhairavas as consorts. However, consort
goddesses are also worshipped solo, and in such cases, they are depicted in complete
iconographic splendour.
 From left to right: Semi erotic paintings of Shakti-Ganapati, Radha-Krishna and Shiva-Parvati

Popular Hindu religious art often depicts the gods and their consort goddesses in semi-
erotic poses. There seems to be no pattern except suggestions of intimacy in such
paintings of Ganesha & Shakti, Krishna & Radha and Shiva & Parvati. However, bronze
and stone sculptures of Shiva and Parvati in divine union, from medieval India, often
follow a template, with Parvati sitting on Shiva's lap or locked in an erotic embrace.

Bronze and stone sculptures of Shiva and Parvati

Other tantric imagery in the form of temple sculptures are explicit – take for example the
sculptures at Khajuraho and Konark. However, when it comes to Gods and Goddesses,
medieval Indian artists seem to have played safe. Hindu consort goddesses seem to be
staid wives than passionate lovers. Compared to Buddhist and Bon god-consort pairs,
these seem rather sedate. The exceptions can be seen in Nepalese Hindu religious art,
which closely resembles Tibetan Buddhist art. Take for example, the following 18th
century Nepalese painting of Bhairava and Kali. Here, of course, Bhairava is the consort
to Kali, who is in no way passive. Kali is considered more of a warrior/destructive
goddess and will be considered later in that category.

18th century Nepalese painting of Kali and

Bhairava resembling Tibetan art representing
Buddhist divine couples
Among the Buddhist and Bon tantric iconography, both classes of deities - peaceful and
wrathful - are depicted with consorts in poses of sambhoga, with the consort kissing the
male deity and with one or both of her legs wrapped around his body. These typical
divine couples are represented in what is called a Yab-Yum pose.

However, within both the Hindu, Buddhist and Bon folds, when the consort goddesses
are considered independently, they have rich iconography and mythology associated
with them.

Divine couples (clockwise from top left): Magyu Sangchug Tartug & Kyema [Bon], and
Buddhist deities, Akshobhyavajra & Sparshavajra, Samantabhadri & Samantabhadra and
Manjushri & Saraswati
POPULAR CONSORT GODDESSES IN THE HINDU TANTRIC TRADITION

Parvati: As Shiva's consort, Parvati appears as a two-

handed beautiful goddess, generally seated by his side or on
his lap. She is also known as Uma, the beautiful mountain
goddess and daughter of Himavan, and an incarnation of
Sati. This fair goddess is sometimes shown holding a lotus
in one hand, while her other hand is in the Abhaya Mudra.

Radha: Although a later Puranic mythological character,

Radha is a very popular consort figure among the
Vaishnavas. The Brihad Gautamiya Tantra describes her as
“The transcendental goddess Srimati Radharani is the direct
counterpart of Lord Sri Krishna. She is the central figure
for all the goddesses of fortune. She possesses all the
attractiveness to attract the all-attractive Personality of
Godhead. She is the primeval internal potency of the Lord.” She is usually depicted as a
fair, blue-garbed beautiful milkmaid, engaging in (divine) dalliances with Krishna.

Lakshmi: Unlike the docile Puranic deity, the Lakshmi

of the Pancharatra texts, especially the Lakshmi Tantra,
is a supreme power who creates, maintains and destroys
the Universe with Vishu's wishes. Vishnu becomes the
dominant figure, while the powerful Lakshmi assumes
a central role. Tantric Lakshmi is sometimes depicted
sitting on a corpse, holding in her four hands Vishnu's
icons – a lotus, a mace, a conch and a disc.
 Ganapati's Shakti: Though commonly thought of as a
bachelor deity, Ganesha is represented with one or
more consorts in Ganapatya Tantra. The Sritattvanidhi,
a 19th century Kannadiga iconographic treatise
mentions 32 forms of Ganesha, many of whom are
accompanied by a consort goddess. There is, however,
little or nothing to be found about these shaktis – not
even names Ganesha is also associated with 'Buddhi',
'Riddhi' and 'Siddhi', or the Ashtasiddhis, who are often personified as consorts.

A sculpture of Vinayaki, one of

the 64 Yoginis

Speaking of the Shakti aspect of Ganesha, one of the 64 Yoginis (Chausath Yogini) is
Vinayaki – an elephant headed deity. She is sometimes considered a female form of
Ganesha and known with names like Stri Ganesha, Gajananā, Vighneshvari and
Ganeshani; while some scholars consider her as a separate deity.
POPULAR CONSORT GODDESSES IN VAJRAYANA (BUDDHIST TANTRA)

Vajravarahi: Consort to Chakrasamvara,

Vajravarahi is among the most popular
goddesses in the Vajrayana pantheon. She is
also known as Dorje Pakmo and Vajrayogini.
She is shown as a young 3-eyed, 2-armed, one-
faced red goddess in a dancing pose. She
stands atop a human figure, symbolising the
crushing of the ego, and in her hands she holds
a skull cup (kapala) and a curved knife much
like the Hindu Kali. In fact, most female
wrathful deities are modeled after Kali, as will
be seen here. Vajravarahi is sometimes shown with the head of a sow placed next to her
head or atop it, and hence the 'Varahi' part of her name. In this respect, she is comparable
to the Hindu matrika, Varahi, who just has a sow's head and not a woman's.

Vishwamata: Vishwamata (The Variegated

Mother) is consort to Kalachakra and is
normally represented in a Yab-Yum pose
with him. She is also called Kalichakra.
Vishvamata, is golden yellow in colour, and
embraces Kalachakra from the front. She
has four heads and eight arms in which she
holds a lotus, a damru, a noose, rosary, a
flaying knife, a skull cup, a Buddhist wheel
and a conch.
Vajravetali: Vajravetali, also called Rolangma, is the
wrathful form of Saraswati and she plays consort to
the terrifying buffalo-headed deity, Yamantaka. Robust
like her male counterpart, Vajravetali is a one-headed,
two-handed, and three-eyed goddess. Her eyes are
round with a wrathful expression, and in her hands she
carries a skull cup and a cleaver. She has five dried
skulls adorning her head, and around her neck is a 50-
skull necklace.

Sparshavajra: Akshobhyavajra or Guhyasamaja's

consort Sparshavajra is also known as Adhiprajna.
She is depicted with Guhyasamaja in a Yab-Yum pose,
whereby she encircles him, and possesses the same
attributes. Adhiprajna has three faces: red, light blue,
and white. Her original hands embrace the yab at the
back, the upper hands hold the flaming jewel (mani)
and wheel (chakra), while the lower ones carry the
sword of wisdom (Prajna – Khadga) and lotus.

Yeshe Tsogyal: Yeshe Tsogyal is a historical figure

(757-815 CE), revered as a goddess in contemporary
Vajrayana practices. She was consort to the great
Indian Tantric teacher, Padmasambhava and is often
considered a manifestation of Tara or Saraswati.
Recognised as a female Buddha, Yeshe Tsogyal is
depicted as a fair maiden with a peaceful countenance,
either seated or standing up.
POPULAR CONSORT GODDESSES IN BON TANTRIC TRADITION
Kyema Marmo: The consort goddess to
Magyu Sangchog Gyud, Kyema Marmo is
a red-coloured deity, very similar to the
Buddhist Vajravarahi, except for her Yab-
Yum pose. She has one face and two arms
and her right leg is wrapped around her
male consort. She is naked, except for
adornments of jewelery, and her tongue is
outstretched, much like the Hindu goddess Kali.

Khala Dugmo: Consort to one of the most

important meditational deities (yidams),
Trowo Tsochog Khagying, Khala Dugmo
means 'furious lady of the sky'. Much like
Kyema Marmo, she is red in colour, has
two hands, one face and wraps her right
leg around her divine partner.

Barring Yeshe Tsogyel (Buddhist), who was a historical figure, all Buddhist and Bon
consort deities seem to have a striking resemblance with the popular Hindu goddess,
Kali, whether represented in Yab-Yum or in isolation. Interestingly enough, Kali is
hardly ever represented as a consort; she is clearly a destructive goddess – a category
that will be discussed later in the paper. These consort goddesses are almost always
naked, voluptuous and fierce-looking, conforming to a very central Tantric idea of a
fertile and powerful goddess, even when she is plays the second fiddle.
Mother/ Benevolent/ Creator Goddesses

The female principle is central to all Tantric religions. She is revered as a consort and
more importantly as a creator or a mother figure. As a mother, the goddess is the
supreme power, responsible for creating the universe and protecting it. The iconography
of most goddesses in this category – whether in Hindu, Buddhist or Bon Tantra – are
depicted as benevolent and beautiful. This is in accordance with the universal idea of a
mother figure being most approachable and loving. Let's take a look at some of the most
popular Tantric goddesses as mothers and creators.

MOTHER/CREATOR/BENEVOLENT GODDESSES IN THE HINDU TANTRA

Parvati: When Parvati is not

playing the perfect wife to Shiva,
she is a doting mother. The mythical
tale of Parvati creating Ganesha is
very well known and popular
iconography will almost always
depict Parvati with Ganesha (or
Skanda, her other son) on her lap.
Parvati's position is especially
important in Shaiva Siddhanta, as
the entire text is the result of her
inquiries to Shiva. There are several
incarnations of Parvati, including
Lalita, Meenakshi and Kamakshi,
which are revered in different cults.
 Adi Parashakti: The feminine principle is
supreme as Adi Parashakti. She is the basic
creative force, from whom all forms of Devi
emerge, including the 10 Mahavidyas. She is
responsible for the creation as Para Brahman of
the Universe and is revered by the Kaula and
other Tantric schools. She is often depicted as
seated on a jeweled seat in a chariot of seven lions, accompanied with Lakshmi and
Saraswati and with a Sri Yantra at her feet.

Bhadra Kali: 'Bhadra' means 'good' or 'civil' and

therefore, this form of Kali is the benevolent one. With a
benign stance, she holds in her four or six hands some
weapons, a lotus and sometimes even a cup. She stands on
a corpse, symbolizing the crushed ego. Gods or other
divine attendants are often seen surrounding her in a
reverential way, suggesting that she is a superior goddess.
This form of Kali is popular with both, the Shivas and Shaktas.

Mahadevi: Mahadevi is a generic name for a supreme

goddess, and could be identified with Mahakali,
Mahalakshmi or Mahasaraswati. Popular in Kaula
schools, Mahadevi is described in superlatives in various
Tantric scriptures like Mahanirvana Tantra, Lalitha
Sahasranama, etc. She is the 'most beautiful', 'most
benevolent', 'most powerful'. Iconographically, she
resembles Durga with multiple hands holding weapons
and sometimes riding a tiger or sitting atop a lotus.
 Mahalakshmi: In the Vaishnava Tantric schools,
Mahalakshmi is considered the primary goddess,
as the consort of Mahavishnu. Apart from the
nomenclature, her attributes are much like the
'regular' Lakshmi, with lotus and elephant motifs
symbolising fertility and royalty. The four-armed
goddess is responsible for creation according to
Pancharatra texts.

Lalita Tripura Sundari: In Sri Vidya Tantra, the

goddess Lalita Tripura Sundari is the most
important deity. Any other deities, whether male
or female, assume a secondary role. Tripura
Sundari (most beautiful of the three worlds), the
16-year-old goddess, is sometimes accompanied
with Lakshmi and Saraswati and has a Sri Yantra
near her feet, much like the icon of Adi
Parashakti. Sometimes, she is depicted sitting on
a platform held aloft by Brahma, Vishnu, Shiva
and Indra/Ishana. Among the things she holds in her four hands are arrows of flowers, a
noose, a goad and a sugarcane as a bow. The flower and sugarcane bow represent her as
Kamakshi, the goddess of love/desire and those icons are similar to Kama, the god of
love. She has several meditational forms, and depending on her state, can be of red,
golden or a dusky complexion. This aspect of varying complexions is comparable to the
female deities in Vajrayana. Lalita Tripura Sundari is also a part of the Dasha (10)
Mahavidyas, and she shall be discussed in that capacity later in the paper.
MOTHER/CREATOR/BENEVOLENT GODDESSES IN THE VAJRAYANA
Samantabhadri: Almost always depicted as a consort
in Yab-Yum with Samantabhadra (bottom right in
consort collage), Samantabhadri is a very important
dakini and female Buddha in Vajrayana.
Samantabhadri, the 'Primordial Mother Buddha' is
depicted as white complexioned – the primary symbol
of the wisdom aspect of mind, and she sits in a lotus
position.

Prajnaparamita: Prajnaaramita, the 'Great Mother' or

Yum Chenmo is another female Bodhisattva, who has
attained perfect wisdom. In Mahayana, the
Prajnaparamita Sutra is a philosophical/meditation
treatise, but in the context of Vajrayana, she is
personified as a serene, golden-complexioned four-
armed goddess, sitting in a meditative pose. She holds
the Sutra and a Vajra in two of her hands, while the
other two are placed on her lap in a mudra.

Nairatmya: Nairatmya or the 'Lady of Emptiness' is

yet another female Buddha. She is dark blue in
colour with one face and two hands holding a curved
knife and skullcup at the heart with a katvanga staff
resting against the left shoulder. Adorned with a tiara
of skulls, bone ornaments and a skirt of tiger skin,
she is in a semi-wrathful appearance, seated on a sun
disc, multi-coloured lotus and throne.
 White/ Sita Tara: Tara, the female
counterpart of Avalokiteshwara, is a very
popular goddess in the Vajrayana
pantheon. The name Tara is common to
both Hindu tantra (Tara is one of the 10
Mahavidyas) and Vajrayana. In Vajrayana,
Tara has many forms differentiated by
colour and one of them is the benevolent
White or Sita Tara. In iconography, White
Tara often has seven eyes – in addition to
the usual two, she has a third eye on her
forehead and one on each of her hands and feet. White Tara is seated in the diamond
lotus position, with the soles of her feet pointed upward. Her posture is one of grace and
calm. Her right hand makes the boon-granting gesture and her left hand is in the
protective mudra. In her left hand, White Tara holds an elaborate lotus flower that
contains three blooms.

Green/ Samaya Tara: Green or Samaya

Tara is the more popular version of Tara
and is the goddess of enlightened
activity. This two-armed green goddess is
depicted in a posture of ease and
readiness for action. While her left leg is
folded in the contemplative position, her
right leg is outstretched, ready to spring
into action. Green Tara's left hand is in
the refuge-granting mudra (gesture); her
right hand makes the boon-granting
gesture. In her hands she also holds closed blue lotuses (utpalas), which symbolize
purity and power. She is adorned with the rich jewels of a bodhisattva.

Yumka Dechen Gyalmo: Yumka Dechen

Gyalmo is a wisdom dakini and considered an
aspect of Yeshe Tsogyal. She is described as
naked, red-skinned, has one face and two arms;
three eyes; feet are evenly on the ground, one
foot facing forward, ready to act for others; her
face bears an expression of great passion; she is
desirous and cheerful. In her right hand she
upholds a damru. In her left, she holds the
handle of a curved ritual chopping knife, which
rests at her left side.

MOTHER/CREATOR/BENEVOLENT GODDESSES IN BON TANTRA

Satrig Ersang: Satrig Ersang is among and

the most important of the five principal
deities of Bon. She is often depicted with the
four Transcended Lords or surrounded by
250 female Sanggye or enlightened beings.
Satrig Ersang has a calm countenance,
sitting in a meditative pose. She has one face
and two hands (sometimes four), which she
holds up near her chest. She is comparable
to the Buddhist deity, Sita Tara.
 Sherab Chamma: Sherab Chamma is also
called 'Thugche Chamma' which means The
Loving Mother of Compassion. Satrig Ersang is
considered a manifestation of Sherab Chamma
– the latter being an 'active' deity. The Buddhist
deity Prajnaparamita is thought to be the same
as her, as she embodies perfect wisdom. She is
either depicted as white, yellow or orange, has
one face, three eyes, and two hands, in which
she holds a vase and a blue flower. She wears
rich robes and sits either cross-legged or with
one leg outward, ready for action, much like the Buddhist Green Tara. Another popular
form of hers is Dedol Jamma, who is a white coloured skillful deity.

The mother goddesses in Hindu, Buddhist and Bon Tantra borrow from each other, with
marked similarities in certain classes of deities. The female Bodhisattvas of Vajrayana
and meditative deities in Bon are clearly inspired by each other. White Tara and Green
Tara resemble Satrig Ersang and Sherab Chamma respectively in their wise and active
natures. Satrig Ersang is considered the same as the Buddhist Prajnaparamita, as
mentioned above. Some statues of Prajnaparamita have been found in Buddhist India as
well. The unadorned image of the Buddhist Samantabhadri stands out as an exception,
as no Hindu or Bon mother deities look like that. Similarly, Parvati is the exception of
the literal imagery of a mother deity, as she carries her son. The Buddhist deities
Nairatmya and Yumka Dechen Gyalmo are inspired by the Kali imagery. Interestingly,
many benevolent and wrathful deities in Buddhism and Bon resemble the Hindu Kali in
terms of stance and icons. Whatever their inspirations, mother goddesses are very
important in all Tantric schools, whether Hindu, Buddhist or Bon. However, it is the next
class of deities – the warrior/ destructive goddess – that best define the Tantra archetype.
Warrior/ Destructive Goddesses
Of the entire pantheon of Tantric goddesses, the warrior/ destructive goddesses are
perhaps the best recognised and identified with. The word Tantra evokes images of
bloodthirsty goddesses, which is not entirely baseless. Kamakhya, one of the most
important Tantric centres of India, has a history of blood sacrifice. In fact, even today,
animal sacrifice is common to not just Kamakhya, but many other Shakti Peethas in
India. Terrifying images of Hindu Tantric of Chamunda or the rather suicidal
Chinnamasta have only confirmed the layperson's association of Tantra with warrior/
destructive goddesses.

The imagery is carried forward in Vajrayana Buddhism and Bon tantric schools, but the
implication of their warrior/destructive goddesses is more metaphorical than literal.
Their terminology for such deities is also different, and they can be classified into
wrathful goddesses, yidams, khandromas and, dakinis. A typical deity of this category is
depicted standing on a corpse, with multiple arms, a lolling tongue, and with motifs like
skulls and khatvangas. She has a wrathful expression, is mostly naked and very much
like the Hindu goddess, Kali. Discussed below are some of the most popular
warrior/destructive goddesses/ deities in Hindu, Buddhist and Bon Tantra.
WARRIOR/ DESTRUCTIVE/ WRATHFUL GODDESSES IN HINDU TANTRA

Chamunda: The goddess Chamunda is thought to

be of tribal origin, who was later inducted into the
Hindu and even Jain folds. She is one of the Sapta
Matrikas and gets her name from the myth of the
demons Chanda and Munda, whom she slayed. As
in the Nepalese painting alongside and medieval
sculptures, she is depicted as a terrifying-looking
emaciated goddess with either four, eight, ten or
twelve arms. She is red or black in colour, wears a
munda-mala (skull necklace) and has drooping
breasts. She holds things like a noose, sword,
khatvanga, and shield and wears several ornaments. Posture wise, she could either be
sitting, standing or sqatting. As a matrika, she is associated with disease, pestilence and
death and shown with a child on her lap (refer to the Sapta Matrikas in the Deity
Clusters section later in the paper).

The goddess Chamunda also

appears in a twin format as
Chamunda-Chotila. This unique
form is worshipped in Gujarat at
the Chotila temple and there are
several mythological stories
attempting to explain this twin
form. The goddesses ride a lion,
wear a red and green sari
respectively and carry a trident. They are associated with power and fertility.
 Kali: The goddess Kali is undoubtedly the
primary Tantric deity, with several tantras like
Niruttara-tantra, Picchila-tantra, Yogini-tantra,
and Kamakhya-tantra proclaiming her to be the
greatest of all. However, Kali is a popular deity
among non-Tantric Hindu folds too. Her name is
derived from the word 'Kaal' meaning time,
implying that she is the goddess of time and
change. In popular Kali iconography, she is black
or blue in colour, has four arms in which she
holds a khadga (scimitar), a severed head of a
demon and a bowl that holds the blood dripping from the head. She is naked, barring a
girdle made of human hands and a necklace of 50 human heads. Her expression is fierce,
her hair disheveled, her tongue lolls and she stands on Shiva's chest. This fierce image of
Kali is surely of the most enduring among Tantric sects, having given rise to many
inspired icons.

Ekanamsha: The uncommon Ekanamsha

finds place in the Vaishnava Tantra pantheon
and is mentioned in some Pancharatra texts.
She is considered an emanation or Shakti of
Vishnu, who was 'born' to King Nanda to
protect the baby Krishna from Kamsa. In some
temple sculptures of the Mathura region, she is
depicted alongside Vishnu and Balarama/Indra
as their sister. She helped Vishnu defeat the demon Kalanemi. Iconographically, she is
said to be surrounded by black clouds, symbols of her powers of Maya.
Guhyakali: There are 12 kinds of Kali mentioned in Kashmir Shaivism and Guhyakali
is one among them. This 'guhya' or secret form of Kali perhaps has the most complex
imagery, and she is described in great detail in the Guhyakali khanda of the
Mahakalasamhita.
Guhyakali is a 10-faced goddess with one central human head and nine other
animal/bird heads that include a leopard/panther, a lion, a jackal, a monkey, a bear, a
crocodile, an elephant, a horse, and a kite/Garuda. She has 27 eyes in those 10 faces, and
eight arms (sometimes, even 54!) in which she holds things like a noose, a jewelled
rosary, a skull, a shield, a shakti missile, a skull-staff, a bow, a discus, a bell, a man's
skeleton, a serpent, etc. She stands atop Bhairava and a dog, with a fierce expression,
wearing the essential skull necklace.
WARRIOR/ DESTRUCTIVE/ WRATHFUL GODDESSES IN VAJRAYANA

Palden Lhamo:One of the most important

deities of Tibet, Palden Lhamo embodies all
qualities of the fierce warrior goddess
archetype. This wrathful deity is considered the
chief Protectress (of Tibet) or Dharmapala in the
Gelug tradition. She is Mahakala's consort, and
is iconographically depicted with deep blue
skin, three eyes, her face set in a fearsome
expression as she rides a mule. Palden Lhamo is quite the antithesis of the mother
goddess as one of the primary mythological stories attached to her is one where she kills
her own son to protect dharma.. She not only kills him, but skins and eats him up too.

Ekajati: This fierce-looking goddess is also

known as Mahacina Tara and is one of the 21
manifestations of Tara. She is popular as a
meditational deity, retinue figure and a protector
deity. She is known as 'the mother of the mother
of all Buddhas' and her role is to protect secret
mantras. She is distinct in iconographic
representation because of one chignon/braid/
bun, one breast, one eye and one fang. This blue
goddess has two arms, wears a skull crown and
bone ornaments, and has a tiger skin wrapped around her waist. Enveloped in clouds,
she holds a heart in her right hand and emanates wolves from her left. Other wrathful
forms of Tara include Black Tara, Jigjema, Shen.gyi.mi.tub.ma, and Shen.le Nam.par
Gyel.ma. All these emanations are iconographically similar to Ekajati.
Vajrayogini/ Troma Nagmo: Vajrayogini is the highest Yoga Tantra Yidam or
meditational deity. She is a female Buddha and a dakini and is known by several names.
She is prayed to for protection against death, bardo (intermediate state between death
and rebirth) and rebirth. This generic deity is pictured as a three-eyed red complexioned
naked young woman of 16. This reference to age is reminiscent of the Hindu Goddess,
Lalita Tripura Sundari, who is eternally a 16-year-old. However, unlike Tripura Sundari,
Vajrayogini is semi-wrathful, carrying a khatvanga (staff), a skull cup full of blood, and
a cleaver. She bears the common motifs of a crown of 5 skulls – common to most
wrathful female deities in Vajrayana – and a munda-mala. Her right and left feet trample
upon Kalaratri and Bhairava respectively, as she stands in a ring of fire. Her iconography
is rich and laden with meaning in this form and others.

Her other common forms include Troma Nagmo, also known as Krodheshwari, Krodha
Kali, Krishna Krodhini and Kalika. This is the wrathful aspect of Vajrayogini.
Linguistically and iconographically, Krodha Kali is perhaps the closest to the Hindu
deity, Kali. Troma Nagmo is also blue-black in colour, terrifying in appearance, carries
similar accoutrements like a khadga, khatvanga and kapala, has three eyes and flaming
hair. She wears a crown of skulls, like Vajrayogini, and dances atop a corpse. Her pose
of 'destructive dance' again reminds of Nataraja – a form of Shiva, who is Kali's consort.

There is another interesting parallel between this Buddhist deity and a Hindu one. The
Chinnamunda or Headless Vajrayogini is a clear replication of the Hindu deity,
Chinnamasta.

Pretty much every element of the Chinnamasta iconography can be seen in the
Chinnamunda Vajrayogini deity. To begin with, the names are very similar; whereby
'chinna' means severed and 'masta' or 'munda' mean head. Like Chinnamasta,
Chinnamunda appears standing on a copulating couple (Kama and Rati in the case of
Chinnamasta), having severed her own head from which spurt jets of blood. She holds
her head in one of her hands, and with the other hand, a khatri (scimitar). Three streams
of blood spurt from the neck, with one stream being swallowed by her own her, and two
by her divine attendants, Vajravarnani and Vajravairochani [Dakini and Varnini in the
Hindu context]. The red-hued 16-year old goddess is one of the most fierce in both
Vajrayana and Hindu tantric traditions.
 Red Tara/ Kurukulla: Red Tara or
Kurukulla (also spelt Kurukulle) is a
fierce emanation of the goddess Tara. She
is invoked for the fulfillment of desires –
especially sexual. Ironically, this 'goddess
of love' is semi-wrathful in appearance
and is seen trampling upon Kama – the
god of Love. Much like Kama, she holds a
flower bow and arrow to subjugate,
magnetize and attract. The red-hued, four
armed goddess stands in a dancing stance
on one leg sporting a crown and a
necklace of skulls.

Sitatpatra/ Dukkar: This is one wrathful

deity that looks deceptively calm.
Sitatapatra (Goddess of the White Parasol)
is also known as Dukkar and is venerated
by all sects of Buddhism. She is said to
have emanated from Shakyamuni Buddha
and helped Indra defeat all demons with
just one wave of her parasol. She is
represented with one face, three eyes, and
two hands in which she holds a parasol
and a wheel. But there are other
depictions of her where she has multiple
hands, heads and eyes (upto a thousand).
The beautiful form belies the fierce, protective nature of this fair-skinned goddess.
WARRIOR/ DESTRUCTIVE/ WRATHFUL GODDESSES IN BON TANTRA

Sipe Gyalmo: Sipe Gyalmo (also spelt Sipai

Gyalmo) can be loosely translated to 'Queen of
the Universe' and is the chief protector deity of
Bon. Her frightful appearance is meant to ward
of evil and protect sentient beings. Of her three
faces, the white one of the left represents the
father, and the red one on the right represents
the mother. Her central face is indigo like the
rest of her body. She rides a horse much like
the Buddhist deity Palden Lhamo. She has 6
arms in which she holds a victory banner, a
thunderbolt, a phurba (dagger), a mirror, a hook
and a skull cup. Her body is draped in skulls and she is surrounded by flames.

Yeshe Walmo: Yeshe Walmo is the wisdom

aspect of Sipe Gyalmo, and she is the
protectress of all sacred Bon scriptures. The
same colour as Sipe Gyalmo, Yeshe Walmo has
only one face and two arms. She’s stands on one
foot dressed in peacock feathers, which
symbolize the transmutation of poison
(ignorance). In her right hand, she holds a
flaming thunderbolt sword and in her left, a
vase filled with the waters of long life. She
wears a tiger skin, and stands upon a lotus flower representing the purity of her wisdom
and is surrounded by flames burning all ignorance.
Deity clusters
Most mythologies refer to clusters of gods, goddesses, divine or malevolent beings.
Tantric iconography and scriptures too make such references. Clusters or groups of
mythical characters enrich the tapestry of religious literature, with many stories attached
to them. These clusters are often a manifestation of one supreme deity or energy source
and have allied functions. The number of deities in a certain cluster often have a
numero-religious significance. These numbers are often inspired by elements of nature
and assume a certain sacredness within that cultural context. The 10 Mahavidyas, the 7
Matrikas, the 8 Siddhas, and the 64 Yoginis are among the many examples of deity
clusters in the Tantric tradition. A closer look at some of these clusters has been taken in
the following section.

DEITY CLUSTERS IN HINDU TANTRA

Dasha Mahavidyas: The Dasha (dasa or 10) Mahavidyas is a very important deity
cluster for Hindu Tantrics, especially the Shaktas. These 10 deities are a mix of beautiful
and terrible forms – Kali, Tara, Tripura Sundari, Bhuvaneshwari, Chinnamasta,
Dhumavati, Bagalamukhi, Matangi and Kamala. The Mahavidyas emerged from an
angry Sati, when Shiva refused to let her attend a sacrifice organised by her father,
Daksha. One of their first references was found in the Guhyatiguhya Tantra.
Interestingly, this text equates these 10 Mahavidyas to the 10 avataars of Vishnu. The
goddesses are depicted in the very prototypical Tantric manner, each with a special
message or significance. They are 10 kinds of knowledge (Vidya) personified, who help
overcome different kinds of obstacles. While they are all considered emanations or
manifestations of the Divine mother, Sati, each Mahavidya is an important deity in
herself and is worshipped individually. Each has a separate Yantra, Mantra and function.
Strangely enough, when they appear in this Mahavidya cluster, they do not seem to be as
revered. A brief description of each Mahavidya is given below.

Kali: Kali, the first terrible emanation of Sati is not only a part
of the Mahavidyas, but was an older goddess brought into this
fold. She stands for the eternity of time (the name Kali being
derived from Kala,which means time). Her iconography has
been discussed above in the section of Hindu Tantric warrior
goddesses.

Tara: Tara is also known as Ugratara or Neel Saraswati and

looks very similar to Kali, except her accoutrements and a
pregnant belly. The Vajrayana goddess, Blue Tara, is somewhat
comparable to this Mahavidya, in terms of name and wrathful
nature. Tara's serpent hair and bowl of fire/blood also stand her
out.
 Tripura Sundari: This beautiful, 16-year-old Mahavidya, who
embodies 16 kinds of desires, is also called Sri Vidya in the
Tantric tradition. One of the myths surrounding her origin
involve Shiva mocking Kali over her appearance and the Devi
performing tapasya to get this alluring form. She has physical,
subtle and supreme forms and is represented in dusky, red or
golden complexions, depending on her form. Her iconography
has been discussed in the section of benevolent goddesses.

Bhuvaneshwari: Bhuvaneshwari is 'The Queen of the Universe'

or one who embodies the cosmos. Also called Rajrajeshwari,
this bright-complexioned, six (sometimes four) armed goddess
is depicted as a queen. Seated on a lotus, wearing resplendent
jewels, the goddess wields among other things a noose and a
goad. As a nourishing goddess, she is sometimes shown holding
a piece of fruit and with full breasts that ooze milk. She
represents space like Kali represents time.

Bagalamukhi/ Bagala: 'Bagala' literally translates to a crane

but here it is implied as captivating. Thus, Bagalamukhi is one
whose face can capture. She is also known as Pitambara due to
her golden-yellow complexion, or even Brahmastra Roopini.
She is represented as a beautiful woman in an aggressive
stance. With a cudgel in one hands she smashes a demon's
head (ignorance), while pulling out his tongue with her other
hand. She may be shown having four hands or two, and could
be sitting on a lotus or standing. She has a crescent moon adorning her brow and is
attributed hypnotic powers.
Chinnamasta: The iconography of Chinnamasta is the most
violent not just among the 10 Mahavidyas, but in the entire
Hindu pantheon. The red-skinned, two-armed goddess wields a
scimitar in one hand and holds her severed head in another,
while standing atop a copulating couple, usually identified with
Kama and Rati. This shocking imagery is symbolic of the
goddess' life giving and life taking powers at once, and explains
the deep-rooted ritual of sacrifice associated with her. Other
iconographic details about this Mahavidya have been discussed in the section of
Destructive goddesses above.

Dhumavati: This Tantric deity is also very unique in her

iconography, with no other Hindu, Bon or Buddhist deity
resembling her. Dhumavati is an old hag of a deity, who rides a
horseless chariot and has the crow – an inauspicious symbol –
associated with her. She is pictured as an ugly widow and is
associated with all things adverse and anti-social, much like the
goddesses Nirriti and Alakshmi. She represents the void after the
dissolution of the Universe.

Matangi: Matangi is considered the Tantric form of the

goddess Saraswati and is hence seen with similar
accoutrements, while being seated on a lotus. In her form as
Raja Matangi, she is depicted with a veena, a book, a parrot
and a club; as Uchchista Matangi, she has a noose, a goad, a
sword and a kapala. She is called the Outcaste Goddess and is
offered leftovers. She is a pictured as a green or dark colured
16-year old goddess who aids the pursuit of vidya.
 Kamala: Iconographically close the goddess Lakshmi,
Kamala is the goddess of wealth and prosperity in the Tantric
tradition. Much like the Gaja Lakshmi, she sits on a lotus,
holds lotuses and bestows boons with her hands, and has
elephants showering water/nectar on her from bejewelled pots.
She is golden-complexioned and beautiful and is the least
important deity in the Mahavidya tradition, because unlike
Kali who liberates, Kamala binds one to material pleasures.

Bhairavi: Even though a Mahavidya, Bhairavi is worshipped independently, and is a

rather complex goddesses with up to 12 forms. In the benign form, when she is Tripura
Bhairavi (left), she is a beautiful nurturing figure wearing a cresent moon on her crown,
resplendent jewels, a munda-mala, and with four hands that carry may carry a pot of
milk, a book, and a rosary. Bhairavi as the consort to Bhairava resembles Kali, is
terrifying in appearance, is covered in snakes and skulls and carries a sword. In her most
fearsome aspect (right), she is depicted with wild hair, riding a donkey, her mouth full of
the blood of demons. She wears a tiger skin and may hold weapons like a scimitar, a
trident, an axe and a thunderbolt.
Sapta/ Ashta Matrikas: The Matrikas are an important deity cluster in the Tantric
tradition. They are venerated in a group of seven in southern India, while Nepal
worships a group of Eight. Sometimes, references to a group of 16 are also found. Those
comprise Gauri, Padma, Shachi, Medha, Sabitri, Bijaya, Jaya, Devsena, Swadha,
Swaha, Mata, Lokmata, Shanti, Pushti, Dhriti and Swosti. However, it is the cluster of
seven or eight, which is popular. These strangely contradictory deities represent the
fecund and destructive aspects of nature. They are associated with children's diseases.

This group of eight goddesses find clear mention in various Puranas and the
Mahabharata, according to Kinsley, while other scholars like Jagdish Narain Tiwari and
Dilip Chakravati argue that these goddesses existed as early as the Vedic times, based on
archaeological evidence. However, it is strongly suggested that this cluster belonged to
the Dravidian Shakta tradition and was eventually incorporated into the major Hindu
fold via the Tantric sect. Some even believe that the Matrika concept comes from the
Shaiva school. While some others believe that local deities and Yakshinis were
subsumed by the mainstream Hindus. Interestingly though, Vajrayana and Bon tantra
seem to have totally omitted this deity cluster and created their own.
Whatever their origin, the Matrikas find an important place in Hindu Tantric tradition
despite their negative associations. However, on a metaphysical note, the matrikas can
be symbolic of (negative) mental qualities, as the Varaha Purana states:
• Yogesvari represents Kama or desire;
• Maheswari, Krodha or anger
• Vaishnavi lobha or covetousness
• Brahmani, mada or pride,
• Kaumari moha or illusion
• Indrani, matsanya or faultfinding
• Chamunda pasunya or tale bearing
These seven are described briefly below.

Brahmani: Also known as Brahmi, this matrika is Brahma's

creative power or Shakti. Like Brahman, she has four faces
and four (sometimes six) hands. She is yellow-hued and
carries a rosary, a kamandalu, a book and a noose in her
hands and one hand is in the varada mudra. Sometimes, she
is depicted with a baby/child sitting on her lap – an element
very common in matrika iconography, validating their
'motherly' natures.

Vaishnavi: Vaishnavi is the female creative energy of

Vishnu and is very similar to that principal Hindu deity. Like
him, she is dark and beautiful and has four hands in which
she bears the shankha (conch), chakra (disc), gada (mace)
and padma (lotus). She is depicted sitting on Garuda, and
wearing a vanamala, both of which are shared by Vishnu.
 Maheshwari: This matrika is the creative power of lord
Shiva, and is also known by the names Raudri, Rudrani and
Maheshi. She is white complexioned, and has three eyes.
She has four (or six) arms, two of which are in the varada
and the abhaya poses, while the two other hands she carry a
trisula (trident), damru (drum) and an akashamala
(rosary).She rides Nandi and sports a jatamukuta (a crown of
matted locks).

Indrani: As Indra's feminine principle, this Matrika is also

known by names as Aindri, Mahendri, Shakri, Shachi and
Vajri. A deep (red) hued goddess, Indrani rides a charging
elephant and holds a vajra, a goad, a noose and a lotus stalk
in her four hands. She is three eyed, but may sometimes
have a thousand like Indra. She wears a Kirita Mukuta and
sits under the Kalpaka tree.

Kaumari: Kaumari is associated with Skanda or

Kartikeya/Kumara and hence has names like Kumari and
Karttikeyani. She has four or twelve arms in which she
carries multiple weapons like the Danda (stick), Dhanus
(bow), Bana (arrow), Dhwaja (flag), Ghanta (bell), Padma
(lotus), Patra (bowl), and Parasu (axe) among other things.
She rides a peacock much like Skanda and like him, is
sometimes depicted with six heads. Her abode is under a fig
tree.
 Chamunda: Unlike all other Matrikas, who represent the
female energy of a male deity, Chamunda is the power of
Devi Chandi. She is also called Chamundi or Charchika and
resembles Chandi (or Kali) in her fearsome appearance. She
is black-skinned and wears a garland of human skulls and
carried a sword, a kapala, a severed head and a trishula. She
rides a jackal, and sits on a corpse. She has drooping
breasts, a sunken belly and blood drips out of her mouth.
There is a cresent moon and a jata mukuta.

Varahi: This dark complexioned goddess is the female energy

of Varaha – the boar-man incarnation of Vishnu. Like Varaha,
Varahi too has the head of a boar and the body of a human.
Pot- bellied, she wears a Karanda Mukuta and has six arms.
She holds a Danda (rod of punishment) or plough, goad, a
Vajra or a sword, and a Panapatra in those hands. Sometimes,
she carries a bell, chakra, chamara (a yak's tail) and a bow. She
is also among the 64 Yoginis (discussed later).

The Vajrayana goddesses Vajravarahi and

Marichi are clear derivations of this deity,
with unmistakable boar motifs. Varahi is
the suffix in Vajravarahi's name, and
though she is not represented often with a
primary boar head, one of her three heads
is a boar's. She even rides a a boar or a
chariot pulled by boars. The goddess
Marichi shares similar iconography.
 Narsimhi: Narsimhi is a 'disputed' eight matrika, with some
sects recognising her and some not. As her name suggests, she
is the female principle of Vishu's anthropomorphic avataar,
Narsimha. With the head of a lion and the body of a woman,
Narsimhi 'throws the stars into disarray by shaking her lion
mane.' She holds the same accoutrements as Vishnu – a sankha
(conch), a chakra (disc), a gada (mace) and a padma (a lotus)
in her four hands.

Narsimhi too has a Buddhist counterpart in the lion headed

dakini, Singdongma (also spelled Sengdongma). She is a female
Dharma Protector regarded as a wrathful emanation of Guru
Rinpoche / Padmasambhava. She is dark blue in colour, has one
face and two arms in which she holds a chopper and a bowlful
of blood. In the crook of her arm rests a khatvanga, and she is
adorned with skulls and bones. While the iconographic details
may vary from Narsimhi, the concept is clearly inspired by the
eighth matrika.

There are many references to be found of

other matrikas from the shodash (16) set, like
Yami (Yama's power), Yogeshwari (Kama's
power), Gananayika (Ganesha'a power),
Mahalakshmi, Savitri and Vijaya, but the the
ones described above are the most commonly
accepted. The shodash matrikas are popular among the Ganapatya sect.
Iconographically, the Matrikas are significant because only here are references to
anthropomorphic Hindu female deities found.
Chausathi (64) Yoginis: Not much is spoken or written about Yoginis in contemporary
society, but the cult of yoginis was a strong and popular one during the peak of Tantrism
(around 8 AD), especially with the Kaula and Kapalika sects. While the word Yogini is
feminine for Yogi and simply means a female practitioner of Yoga, Yoginis are much
more than just spiritual seekers. They are higher spirits, sorceresses, or even divine
beings.

The Chaushathi Yogini temple at Hirapur in Odisha

The lead Yoginis are identified with the Matrikas (see Varahi in Matrikas section), and
their mythological back story is how they are emanations of Devi and helped her defeat
the demons Shumbha and Nishumbha. Each Matrika has 8 or 9 attendant yoginis.
Depending on the number of matrikas [the number varying from 6 to 16], the Yogini
cluster changes in size. But sets of 64 and 81 Yoginis are most popular. The Chaushathi
Yogini cult is especially strong in Odisha with a temples in Hirapur and Ranipur-Jharial.
The other such temples are in Madhya Pradesh in Khajuraho and Bhedaghat. There is no
uniformity in the iconography of Yoginis in these temples, where some are depicted on
Vahanas, some sitting, some standing and some in dancing poses. However, they are
seen as enchantresses with naked voluptuous bodies, adorned with jewels.
About their functions, Dr. Janmejaya Choudhury says, “The yoginis have been classified
in different texts according to their functions, names and rituals attached to them. The
Yoginis are sixty-four in number and are classified as Sahaja, Kulaja and Antyeja.
Another text divides yoginis into Ksetraja, Pithaja, Yogaja and Mantraja based on
different principles. The first two groups of the second classification have association
with the sacred pithas; the yogojas are propitiated with yogic practices and the mantrajas
with Mantras.”

The names and primary descriptions of the 64 Yoginis in Hirapur is as under:

1. Kali Nitya Siddhamata – Mother of the Siddhas
2. Kapalini Nagalakshmi – Lakshmi of Naga
3. Kula Devi Svarnadeha – Of the golden body
4. Kurukulla Rasanatha – Ruler of physical pleasure
5. Virodhini Vilasini – Residing within Self
6. Vipracitta Rakta Priya – Who loves passion
7. Ugra Rakta Bhoga Rupa – We enjoys passion in the form
8. Ugraprabha Sukranatha – Ruler of the seminal essence
9. Dipa Muktih Rakta Deha – Liberation through the body of passion
10. Nila Bhukti Rakta Sparsha – Who receives pleasure from the touch of passion
11. Ghana MahaJagadamba – Great Mother of the world
12. Balaka Kama Sevita – Attended by the God of Love
13. Matra Devi Atma Vidya – The Goddess with knowledge of Self
14. Mudra Poorna Rajatkripa – Who completely radiates compassion
15. Mita Tantra Kaula Diksha – Initiator of the Tantric Kaula Path
16. Maha Kali Siddhesvari – Queen of the Siddhas
17. Kameshvari Sarvashakti – Shakti of All
18. Bhagamalini Tarini – Who delivers from calamity
19. Nityaklinna Tantraprita – Fond of Tantra
20. Bherunda Tatva Uttama – Essence of Sexual Fluid
21. Vahnivasini Sasini – Radiance of the moon
22. Mahavajreshvari Rakta Devi – Sensuous Goddess
23. Shivaduti Adi Shakti – Original Feminine Energy
24. Tvarita Urdvaretada – Giver of the Upward Ecstasy
25. Kulasundari Kamini – Desire Itself
26. Nitya Jnana Svarupini - The Great form of Wisdom
27. Nilapataka Siddhida – Giver of perfection
28. Vijaya Devi Vasuda – Goddess who is Giver of wealth
29. Sarvamangala Tantrada – Who Bestows Tantra
30. Jvalamalini Nagini – Snake Goddess
31. Chitra Devi Rakta Puja – Goddess who is worshipped with passion
32. Lalita Kanya Sukrada – Pure Maiden
33. Dakini Madasalini – Shining with rapture
34. Rakini Papa Rasini – Destroyer of sin
35. Lakini Sarvatantresi – Ruler of all tantras
36. Kakini Naganartaki – Who dances with Nagaraj
37. Sakini Mitrarupini – Friend
38. Hakini Manoharini – Mind Stealer
39. Tara Yoga Rakta Poorna – Who in union bestows complete passion
40. Shodashi Latika Devi – Creeper Goddess
41. Bhuvaneshwari Mantrini – Energy of all mantras
42. Chinamasta Yoni Vega – With dripping yoni
43. Bhairavi Satya Sukrini – Supreme Purity
44. Dhumavati Kundalini – Primordial energy of self
45. Bagla Muki Guru Moorthi – Form of the guru
46. Matangi Kanta Yuvati – Youthful beauty enhanced by Love
47. Kamala Sukla Samsthita – Residing in the Semen
48. Prakriti Brahmandri Devi – Goddess residing in the crown
49. Gayatri Nitya Chitrini – Eternal core of the energy of Self
50. Mohini Matta Yogini – Intoxicated
51. Saraswathi Svarga Devi – Goddess of Heaven
52. Annapoorni Shiva Samgi – With Shiva
53. Narasimhi Vamadevi – Beloved Goddess
54. Ganga Yoni Svarupini – Energy of the Yoni
55. Aprajita Samaptida – Who Bestows Orgasm
56. Camunda Parianganatha – Ruler of sacred erection
57. Varahi Satya Ekakini – Oneness of Truth
58. Kaumari Kriya Shaktini – Energy of dedicated action
59. Indrani Mukti Niyantri – Guide to bliss
60. Brahmani Ananda Moorthi – Image of bliss
61. Vaishnavi Satya Rupini – Form of truth
62. Mahesvari Para Shakti – Transcendental energy
63. Lakshmi Monoramayoni – With beautiful yoni
64. Durga Satchitananda – Truth consciousness and bliss
Dakinis: In the Hindu context, Dakinis are equivalent to malevolent spirits and are
regarded with fear. They are sometimes called shakinis or kakinis, and are said to carry
the souls of the dead. They often appear in a cluster of 108 – a number highly
significant, even sacred, among the Hindus. The Lord Hanuman is evoked for protection
against them. In Tantra, different dakinis are said to have power over the different
energy centres or chakras in the body. In Buddhist tantra and Bon, however, Dakinis are
revered beings, as will be discussed in the next section.

Ashta (8) Siddhis: As discussed in an earlier section, in Tantra, Siddhas are supernatural
achievements, acquired through rigorous spiritual practices. These Siddhis are named
Anima, Mahima, Garima, Laghima, Prapti, Prakamya, Isitva, and Vashitva. But the
Siddhas or powers are sometimes personified, especially in Ganapatya Tantra. These
Siddhis – 8 in number – are often said to be Ganesha's wives or consorts. The Ashta
Sakhis of Krishna are a similar concept, whereby the eight divine companions appear
together. They are Lalita, Visakha, Citra, Campakamallika,Tungavidya, Indulekha,
Rangadevi and Sudevi.
 Nava (9) Durga: The nine forms
of Durga are especially
venerated in the Kaula Marga of
Tantra and Shaktism in general.
The nine manifestations of
Durga are Śhailaputrī,
Brahmachāriṇī, Chandraghaṇṭā,
Kuṣhmāṇḍā, Skandamātā,
Kārtyāyanī, Kālarātrī, Mahāgaurī
and Siddhidātrī, who are
worshipped during the nine days
of Navratri. Among these, the
goddesses Siddhidatri and
Kaalaratri are especially
important for Tantrics. Kalaratri
is a form of Bhairavi – a
Mahavidya – and has been
discussed above. The goddess
Siddhidatri is worshipped for the
attainment of Siddhas or powers.

Para – Apara – Parapara: The Kashmir Shaivism school follows the Trika marg or a
three fold system, comprising the realities of Shiva, Shakti and Nara. These realities are
manifested through energies that are transcendent, imminent and transcendent-imminent.
These three energies are called Para, Apara and Parapara respectively. Personified, these
goddesses are associated with Kali. Para is depicted in a benevolent form, while
Parapara and Apara are shown as wild and terrifying, wearing a garland of skulls, and
brandishing the khatvanga.
DEITY CLUSTERS IN VAJRAYANA/ BUDDHIST TANTRA

Dakinis/ Khandromas: In Tibetan Buddhism, Dakinis are called Khandromas and they
assume a very important place in the Vajrayana pantheon. The word Dakini translates to
'one who traverses the skies', and she could be a good or malevolent spirit. The male
equivalent of a Dakini is a Daka. However, it is Dakinis of several classes who are
repeatedly referred to Vajrayana Tantra.

Judith Simmer-Brown classifies dakinis into four categories, based on teachings of

Tibetan lamas:
1. Prajnaparamita or the secret class of dakinis, which represent voidness (Tibetan
yub chen mo)Yidams or the inner class of dakinis, who are meditational deities
2. Outer Dakinis, who represent the subtle body
3. Outer-outer Dakinis, who represent the human body
Dakinis can also be classified on the basis of Trikaya (3 bodies of Buddha):
1. Dharmakaya Dakinis, who is Samantabhadri and in whom all things occur
2. Sambhogakaya Dakinis, who represent Yidams
3. Nirmanakaya Dakinis who are the highest female spiritual practitioners
 Broadly speaking, the two main kinds are Wisdom
Dakinis and Worldly Dakinis. The wisdom dakinis
are often emanations of primary deities and are
considered Bodhisattvas. Tara, Vajrayogini and
Ekajati are also referred to as Dakinis. These major
goddesses have secret dakini aspects, like Kechari is
of Vajrayogini's. With an explicit sexual pose, she is
reminiscent of the Hindu icon of Lajjagauri, who too
is seen with her legs spread in sexual invitation/
preparation for childbirth.

Further, in Guhyagyana Tantra, there is a mention of 8 Boddhisattva Dakinis, who

appear during Bardo – a period death and rebirth. They are: Lasya, Pushpa, Mala,
Dhupa, Gita, Aloka, Gandha, and Naivedya/ Nartya. These dakinis have wrathful
zoomorphic forms too, and they are called the 8 Tramen. They are: Simhamukha,
Vyaghrimukha, Srigalamukha, Shvanamukha, Gridhamukh, Kangkamukha, Kakamukha
and Ulumukha.

Simhamukha or lion-faced tramen (left) and Ulumukha/ Ulukamukha or the

owl-faced tramen (right)
The worldly dakinis may refer to evil spirits, sometimes, even cannibalistic, who roam
the worlds troubling people, akin to the Hindu concept. However, the greater and more
positive association of worldly dakinis is with great female spiritual practitioners on
earth. The myths, however, surround the Wisdom or Dharma Dakinis.

Wisdom Dakinis may be benevolent or wrathful in appearance. They are often linked to
the five Buddhas and can be identified according to their colour, appearance and
function. Some of them are:

Buddha-Dakini Akashadhatvishvari: She is white in colour, ether is her element and

she represents the Wisdom of Universal Law.
Vajra-Dakini: She is blue, water is her element and she represents Mirror Wisdom
Ratna-Dakini: She is yellow, her element, earth and her Wisdom, that of Equality.
Padma-Dakini Pandaravasini: She is red-skinned, her element is fire and she
represents the Wisdom of Distinction & Discernment.
Karma-Dakini Samayatara: This Green dakini's element is air and she represents the
Wisdom of Action & Accomplishment.
28 Ishwaris (Yoginis): As in Hinduism, Yoginis hold an important position in Vajrayana
Buddhism. They are especially important in the Heruka Mandala, where they appear as 4
Great Yoginis and 24 Heroines of the Commitment Wheel, performing certain functions.

The 4 Great Yoginis are Vajradakini, Vajralama, Khandarohi and Vajrarupini. The other
Yoginis are divided into four groups of six each, depending on their functions. They are:
Pacifying Yoginis: Rakshasi (white), Brahmi, Mahadevi, Lobha, Kumari, Indrani
Yoginis 'increasing activity': Vajra, Shanti, Amrita, Chandra, Danda, Rakshasi (dark
yellow)
Yoginis of Magnetising: Bhakshini, Rati, Mahabala, Rakshasi (pale red), Kama,
Vasuraksha
Yoginis of subjugating: Vayudevi, Nari, Varahi, Nanda, Mahahastini, Varunadevi
It is interesting to note that many yoginis from this Buddhist deity share the Matrika
nomenclature, but then yoginis and matrikas have always been fluid territory.
4 Gatekeepers: In Guhyagarbhatantra of Vajrayana, there is a description of 100
peaceful and wrathful deities that manifest themselves to a soul during bardo – the
period between to lives. There is a class of 42 peaceful deities of which there are eight
gatekeepers and their shaktis. These Shaktis are:

1. Ankusha: Also called 'Horse Face' or 'Iron Hook', guarding the east gate and in
union with Vijaya/Achala
2. Pasha: Also called 'Sow Face' or 'the Noose', guarding the south gate and in union
with Yamantaka
3. Shrinkhala: Also called 'Lion Face' or 'Iron Chain', guarding the west gate and in
union with Hayagriva
4. Ghanta: Also called 'Wolf Face' or 'the Bell', guarding the north gate and in union
with Amritakundali.

There is also a group of four female outer gatekeepers in the pantheon of 42 peaceful
deities and are anthropomorphic too, with bird heads and female bodies. They are called
Vajratejasi, Vajramogha, Vajraloka and Vajravetall.
8 Gaurimas/ Kerimas: This cluster of eight female wrathful deities who surround the
Heruka couples comprises Gauri, Pukkasi, Chaurimatrika, Ghasmari, Pramoha,
Chandali, Vetali, and Shmashani.

The 5 sisters of long life: The central deity is called Tashi Tseringma, who, along with
her sisters has the special blessing power: long-life, wealth, magical ability, nutrition,
and fortuity. Tashi Tseringma is a a white-complexioned deity, who rides a snow lioness.
She has one face and two arms in which she holds a vajra and a 'vase of long life'.
The other sisters are:
Tingi Shalzangma – She is blue in
colour, rides a mare, and in her two
hands holds a mirror and a banner of
the gods.
Miyo Lozangma – She is yellow in
colour, rides a tigress, and in her two
hands holds a bowl of delicious foods
and a mongoose.
Chöpen Drinzangma – She is red in
colour, rides a hind, and in her two
arms holds a wish-fulfilling jewel and
a jewel-encrusted casket.
Täkar Drozangma – She is green on colour, rides a female turquoise dragon, and in her
two arms holds a bushel of durva grass and a snake noose.

This cluster of female Vajrayana deities resemble Hindu Tantric goddesses in the matter
of mounts. Mounts or vahanas are very common in Hindu religious iconography, but not
much is observed in the Buddhist pantheon. This cluster stands out with each deity
riding a mount – the tiger and the lion being most recognisable in the Hindu context.
 12 Tenma Sisters (Tenma Chunyi):
The twelve Tenma sisters are the
traditional guardian deities of Tibet
and are considered subordinates to
the Five Sisters of Long Life, and like
them ride mounts. They were
defeated by Guru Rinpoche and then
bound by his oath to protect Tibet and
brought under the Tibetan Buddhist
fold. These mountain goddesses are
divided into three groups of four – 4
female demons (dumo), 4 medicine
deities (menmos) and 4 yakshinis
(nojins). The names of the12
goddesses differ from school to
school, but given below is a listing by Tukdrub Yangdü, a Buddhist Tantric scripture
authored by Ratna Lingpa.
Four dümo: Dorje Kundrakma, Dorje Yama Kyong, Dorje Kuntu Zang,
Dorje Gek kyi Tso
Four nöjin: Dorje Yudrönma, Dorje Palgyi Yum, Dorje Lumo,
Dorje Drakmo Gyal
Four menmo: Dorje Bö Kham Kyong, Dorje Menchikma, Dorje Zulema,
Dorje Yarmo Sil

DEITY CLUSTERS IN BON TANTRA

Since the 12 Tenmas are ancient deities of Tibet, they are recognised by the practitioners
of Bon Tantra as well. Bon Tantra also has similar deity clusters, like accompanying
goddesses and khandros/dakinis. We take a look at them below.
 4 Great Mothers with Sherab Chamma:
The principal Bon deity, the mother
goddess Sherab Chamma is often depicted
with four other female deities, who are
companions in her mandala. These are the
Four Great Mothers and they all have one
face and two arms in which they hold
khatvanga and other accoutrements. They
are called Great Mother Tabchen
Derdrolma, Great Mother Namkha
Dzödzinma, Great Mother Tugje Chamma
and Great Mother Natsog Kundragma.

Dakinis: Dakinis are important to the Bon tradition as it is believed that root text of
Mother Tantra, which was shared by an 'Eternal Divine Language' was transmitted into
Sanskrit by a retinue of skygoers or dakinis. There are various classes of Dakinis
including Wisom Dakinis, Action Dakinis and Meat-Eating Dakinis. The prominent
dakinis are Kalpa Zangmo, Zangza Ringtsun and Thugje Khundul.
 CONCLUSION

The Tantric tradition is as rich as it is complex, whether in Hinduism, Buddhism or Bon/

Benism. The body of Tantric scriptures is vast and when accompanied by incredible
iconography, makes its philosophy extremely layered. The female principle is central to
Tantric practice and impossible without it. In fact, Tantra places the divine feminine on a
seemingly higher place than the male aspect, with a vast body of Tantric texts dedicated
to female deities. In this regard, Tantra is the most gender-equal religion, as opposed to
the misogynistic Vedic-Brahmanic religions. Tantra does not discriminate between its
male and female adherents.

In this paper, I have taken a brief look at major female Tantric deities as Consorts,
Mother/Creator Goddesses, Destructive/Warrior Goddesses and Clusters of Goddesses.
A casual look at the iconography may offer a lot of violent imagery, but these fierce
Tantric goddesses are symbols of true liberation. They are unashamed in their
nakedness, and unafraid in their violence.

Shakti is the cosmic life force, which manifests in numerous forms alongside Purusha.
Shakti is found in many rupas (forms) – from benevolent, to protective to malevolent –
in the Tantric sects of all religions. These goddesses are independent, beautiful, and
fierce all at once, reflecting the power and potential of a woman. That the Shakti
iconography originated in India with Hindu Tantra, and travelled to Tibet and beyond
where it was adopted and adapted by Vajrayana and Bon is a widely accepted idea, there
is some debate about its origins. But it is clear to see the mutual influence with several
common names and similar icons, especially in Hindu Tantra and Vajrayana Buddhism.
Bon Tantra, on the other hand, while being influenced by Vajrayana, seems far removed
from Hindu Tantric ideas. But the bottom line is that Tantra is extremely empowering for
women through its ideas, practices and especially its icons.
References
1. Hindu Goddesses: Vision of the Divine Feminine in the Hindu Religious Tradition
by David Kinsley
2. The Power of Tantra: Religion, Sexuality and the Politics of South Asian Studies
by Hugh B. Urban
3. The Tantric Way: Art, Science, Ritual by Ajit Mookerjee and Madhu Khanna
4. Tantra in Practice by David Gordon White
5. Buddhist Goddesses in India by Miranda Shaw
6. www.himalayanart.org
7. www.exoticindiaart.com
8. Series of articles from the Odisha Review, an e-magazine published by the
Government of Odisha with papers about its art, literature and culture, among
other things.