Caṇḍī or Caṇḍika is the name by which the Supremely divine is referred to in Devi Mahatmya.

Chandi represents the shakti or power of Brahman. The word Chanda hints at extraordinary traits
and thus refers to the Brahman, who is extraordinary due to its complete independence with respect
to time and space. The word Chandi also refers to the fiery power of anger of the Brahman.
[2]
 Bhaskararaya, a leading authority on matters concerning Devi worship, defines Chandi as 'the
angry, terrible or passionate one'.[3] While scholars debate whether an old Goddess was Sanskritized
or a suppressed Goddess was reclaimed, the fact remains that since the very early days, the Devi
was worshiped in the subcontinent regardless of whether she appears as a supreme deity in
Brahminic texts. Scholars who trace her tracks show that she was very much a part of an early
theistic impulse as it was being crystallised in the Indic mind.[4] C. Mackenzie Brown writes:
"Hymns to goddesses in the late portions of the great Mahabharata epic and in the Harivamsa (AD
100-300) reveal the increasing importance of female deities in Brahminical devotional life.… The re-
emergence of the divine feminine in the Devi-Mahatmya was thus both the culmination of centuries-
long trends and the inspirational starting point for new investigations into the nature of feminine
transcendence."[5]
When she does appear in Markandeya Purana, in the section known as Chandi or The Devi
Mahatmya, she proclaims her preeminence:
I resemble in form Brahman
From me emanates the world
Which has the Spirit of Prakriti and Purusha
I am empty and not empty
I am delight and non-delight
I am knowledge and ignorance
I am Brahman and not Brahman

Chandika Devi temple at Kothi, Himachal Pradesh.

This text recounts the tale of male demons and their destruction by the Great Goddess and traces its
lineage through the Devīsūkta or the Vac Sukta in The Rigveda and also connects with the Samkhya
Prakriti to establish itself as a canonical text for the Shaktas.[6][7]
Chandi, the fiercest form of the Goddess, who is the main deity of the famous Devi Mahatmya, a
great poem of seven hundred verses (also called Durga Saptasati or Chandi) which celebrates the
destruction of demons. As Chandi or the destroyer of opposition, she can be invoked for removing
obstacles to allow us to attain any of the four goals of life.[8]
The designation of Chandi or Chandika is used twenty-nine times in the Devi Mahatmya, which is
agreed by many scholars to have had originated in Bengal, the primary seat of the Shakta or
Goddess tradition and tantric sadhana since ancient times. It is the most common epithet used for
the Goddess. In Devi Mahatmya, Chandi, Chandika, Ambika and Durga have been used
synonymously.[9]
The basis for Chandi worship is found in Devi Bhagavata as well as in the Markandeya Purana,
which contains the well known Saptashati. This narrates the three tales of Chandika fighting and
destroying the evil forces in the forms of Madhu, Kaithabha, Mahishasura and Shumbha &
Nishumbha. These stories are narrated in thirteen chapters in the form of seven hundred stanzas or
half stanzas. Each of these is considered as an independent mantra by repeating which one attains
profound benefits. In addition, the mantra prescribed for this is what is known as Navakshari, the
nine lettered mantra that has its basis in the Atharva Shirsha Upanishad, known as the Devi
Upanishad.[10]
Goddess Chandi is associated with the 9 lettered Navakshari Mantra. It is also called Navarna
Mantra or Navavarna Mantra. It is one of the principal mantras in Shakti Worship apart from the Sri
Vidhya Mantras. It is customary to chant this mantra when chanting the Devi Mahatmya. She is
supposed to live in a place called Mahakal, which is close to Kailasa.[11]

Legends[edit]
Chandika is an avatar of Durga. The three principal forms of Durga worshipped are Mahagauri,
Chandika and Aparajita. Of these, Chandika has two forms called Chandi and Chamunda who is
created by the goddess Kaushiki for killing demons Chanda and Munda[12][13]
She is known as the supreme goddess Mahishasuramardini or Durga who slayed the
demon Mahishasura. She has been affiliated with and also considered
as Katyayini, Kaushiki or Ambika who killed Shumbha, Nishumbha and their fellow demons. [1] "The
great Goddess was born from the energies of the male divinities when the devas became impotent
in the long-drawn-out battle with the asuras. All the energies of the Gods became united and
became supernova, throwing out flames in all directions. Then that unique light, pervading the Three
Worlds with its lustre, combined into one, and became a female form."[14]
"Parvati projected an overwhelming omnipotence. The three-eyed goddess was adorned with the
crescent moon. Her multiple arms held auspicious weapons and emblems, jewels and ornaments,
garments and utensils, garlands and rosaries of beads, all offered by the gods. With her golden body
blazing with the splendour of a thousand suns, seated on her lion vehicle, Chandi is one of the most
spectacular of all personifications of Cosmic energy."[15]
In other scriptures, Chandi is portrayed as "assisting" Kali in her battle with demon Raktabija. While
Kali drank Raktabija's blood, which created new demons from his own blood on falling on the
ground; Chandi would destroy the armies of demons created from his blood and finally killed
Raktabija herself.[16] In Skanda Purana, this story is retold and another story of Mahakali (Parvati)
killing demons Chanda and Munda is added.[17]

Chandi Homa (Havan)[edit]

Chandi Homa is one of the most popular Homas in Hindu religion. It is performed across India during
various festivals, especially during the Navaratri. Chandi Homa is performed by reciting verses from
the Durga Sapthasathi and offering oblations into the sacrificial fire. It could also be accompanied by
the Navakshari Mantra. Kumari Puja, Suvasini Puja also form a part of the ritual.[18]

Iconography[edit]
A Burmese portrayal of Chandi (Sandi Dewi).

The dhyana sloka preceding the Middle episode of Devi Mahatmya the iconographic details are
given. The Goddess is described as having vermilion complexion, eighteen arms bearing string of
beads, battle axe, mace, arrow, thunderbolt, lotus, bow, water-pot, cudgel, lance, sword, shield,
conch, bell, wine-cup, trident, noose and the discus (sudarsana). She has a complexion of coral and
is seated on a lotus.[19] In some temples the images of Maha Kali, Maha Lakshmi, and Maha
Saraswati are kept separately. The Goddess is also portrayed as four armed in many temples.
As Purnachandi, she is visualised as both the essence as well as transcendence i.e. the Brahman;
who is beyond Laghu Chandika, who is of the combined form of Parvati, Lakshmi and Saraswati as
represented in Durga Saptashati of Markandeya Purana. As Purnachandi, she sports with her
sixteen hands, sword, arrow, spear, shakti, chakra, mace, rosary, khartal, phalaka, karmuka,
nagapasha, axe, damaru, skull, boon gesture and protection gesture.[20]

In folklore of Bengal[edit]
Chandi is one of the most popular folk deities in Bengal, and a number of poems and literary
compositions in Bengali called Chandi Mangala Kavyas were written from 13th century to early 19th
century. These had the effect of merging the local folk and tribal goddesses with mainstream
Hinduism. The Mangal kavyas often associate Chandi with goddess Kali or Kalika[21] and recognise
her as a consort of Shiva and mother of Ganesha and Kartikeya, which are characteristics of
goddesses like Parvati and Durga.[22] The concept of Chandi as the supreme Goddess also
underwent a change. The worship of the goddess became heterogeneous in nature.
Chandi is associated with good fortune. Her auspicious forms like Mangal Chandi, Sankat Mangal
Chandi, Rana Chandi bestow joy, riches, children, good hunting and victory in battles while other
forms like Olai Chandi cure diseases like cholera, plague and cattle diseases.[23]
These are almost all village and tribal Goddesses with the name of the village or tribe being added
onto the name Chandi. The most important of these Goddesses is Mongol Chandi who is
worshipped in the entire state and also in Assam. Here the word "Mongol" means auspicious or
benign.[24]