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McDermott JournalAmericanAcademy 1999
McDermott JournalAmericanAcademy 1999
Reviewed Work(s):
Tantric Visions of the Divine Feminine: The Ten Mahāvidyās
by David Kinsley
Review by: Rachel Fell McDermott
Source: Journal of the American Academy of Religion , Mar., 1999, Vol. 67, No. 1 (Mar.,
1999), pp. 219-221
Published by: Oxford University Press
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Journal of the American Academy of Religion
suggestion-such as that the ten are linked because they are all forms of the
Great Goddess, because they have ?aivite connections, or because they represent
stages in women's lives or stages of consciousness-and concludes, with evident
disappointment, that there seems to be no satisfactory internal logic, historical or
philosophical, to the group as a whole. This is a brave and tantalizing admission
for a scholar to make at the outset of his investigation.
Part II proceeds methodically, with many intriguing details, through the
materials available on each goddess. Embedded in these discussions are good
descriptions of how a goddess-centered Tantric pija actually operates (50-55)
with its unique use of mantra and cakra (122-128) and yantra (136-140). Because
Kinsley took the time to visit temples and speak with Tantrics and scholars, he is
able to make fascinating juxtapositions between different levels of interpretation.
For instance, a Ramakrishna swami in Varanasi told him that Chinnamasta's
stance on the copulating Kama and Rati is meant to indicate the necessity of sub-
duing sexual desire. Kinsley, by contrast, uses iconographic portrayals of Chin-
namasta to reveal that the opposite interpretation is equally, if not more, likely-
namely, that sexual potency is energizing and life-giving (154-157). Similarly, he
reports that even though the priest at the Dhfimavati temple in Varanasi told him
that the goddess should never be worshiped by happily married men like himself,
he could see that the cult was primarily patronized by householders (186-187).
Tantric Visions is not merely journalistic narration, however; Kinsley's own
surmises-often unsubstantiated by textual or oral evidence, due to the relative
paucity of information on the Mahavidyas-provide interesting, generally con-
vincing food for thought. Why does Bagaldmukhi pull the tongue of a demon she
is quelling? Might this, in part, reflect the Tantric admonition to bite off the
tongue of the corpse one is sitting on, if it becomes unruly during ?ava-sddhand
(205)? Why do some pictures of the widow goddess, Dhfimavati, portray her as
voluptuous and sexually arousing, when the texts describe her as a hag? Might
this not indicate the dangerous allure of real-life widows, not all of whom are old
or ugly (190-192)?
In Part III, "Concluding Reflections," Kinsley sums up what he sees as the
themes or significations common to the ten Mahavidyas. As goddesses of trans-
formation, altered consciousness, and numinous links between the human and
spirit worlds, they have a proclivity for corpses and cremation grounds, and
skulls and severed heads. Explicit sexual imagery is also common to many of
the Mahavidyas, and several of them represent what Kinsley calls "social anti-
models"-beings whose behavior is the opposite of what is expected of a normal
Hindu woman. All ten, he concludes, "fit" the logic of Tantra, "in which a central
aim is to stretch one's consciousness beyond the conventional" (251). This sec-
tion is the least satisfying of the book. As Kinsley recognizes, these themes do not
apply equally well to all ten of the Mahavidyas: his characterization is best sup-
ported by Kali, Tara, and Chinnamasta, whose iconographic depictions are full of
corpses, heads, death, sexual imagery, and "unfeminine" behavior, and least well
corroborated by Bhuvaneivari, Kamala, and Tripura-sundari, who provide him
with almost no examples for his claims. For the intrigued reader, who hopes that
at the end of Tantric Visions the capable scholarly investigator will reveal a con-