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Kali
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Main page For other uses, see Kali (disambiguation). Not to be confused with Kali (demon) or Mahakali.
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Kali (/ˈkɑːliː/, Sanskrit: काली, IAST: Kālī), also known as Kalika (Sanskrit:
Current events Kali
कािलका, Kālikā), is a Hindu goddess. Kali is the chief of the Mahavidyas,
Random article Goddess of Time, Creation,
About Wikipedia a group of ten Tantric goddesses who each form a different aspect of the Destruction and Power
Contact us mother goddess Parvati. Member of The Ten Mahavidyas

Donate Kali's earliest appearance is that of a destroyer of evil forces. She is the

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most powerful form of Shakti, and the goddess of one of the four
subcategories of the Kulamārga, a category of Tantric Saivism. She
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destroys the evil in order to protect the innocent. Over time, Kali has
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Community portal been worshipped by devotional movements and tantric sects variously
Recent changes as the Divine Mother, Mother of the Universe, Adi Shakti, or Adi
Upload file Parashakti.[1][2][3] Shakta Hindu and Tantric sects additionally worship
her as the ultimate reality or Brahman.[3] She is also seen as the divine
Tools
protector and the one who bestows moksha, or liberation.[1] Kali is often
What links here portrayed standing or dancing on her consort, the Hindu god Shiva, who
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lies calm and prostrate beneath her. Kali is worshipped by Hindus
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throughout India and Nepal.[4]
Permanent link
Samhara Kali by Raja Ravi Varma
Page information Contents [hide] Affiliation Mahakali, Mahavidyas, Devi,
Cite this page Adi parashakti, Parvati
1 Etymology
Wikidata item Abode Cremation grounds (but
2 Origins
varies by interpretation),
Print/export 3 Legends Manidvipa
Download as PDF 3.1 Slayer of Raktabija Weapon Scimitar, Sword, Trishula
(Trident)
Printable version 4 Iconography and forms
Gender Female
4.1 Popular form
In other projects Festivals Kali Puja
4.2 Mahakali
Wikimedia Consort Shiva
4.3 Dakshinakali
Commons
Wikiquote 4.4 Samhara Kali Part of a series on
4.5 Other forms Hinduism
Languages 5 Symbolism
Deutsch 5.1 Physical form
Español 5.2 Mother Nature
Français
6 Worship
한국어
6.1 Mantras
िहन्दी Hindus · History
6.2 Tantra
Italiano Origins [show]
6.3 In Bengali tradition
Русский [show]
Main traditions
संस्कृतम् 6.4 In Tantric Buddhism
Deities [show]
6.5 Worship in the Western world
6.5.1 Theorized early worship Concepts [show]
67 more
6.5.2 In modern times Practices [show]
Edit links
7 In popular culture Philosophical schools [show]
8 See also
Gurus, saints, philosophers [show]
9 References
Texts [show]
10 Further reading
Society [show]
11 External links
Other topics [show]

Glossary of Hinduism terms

Etymology [ edit ] Hinduism portal

Kālī is the feminine form of "time" or "the fullness of time" with the V ·T ·E

masculine noun "kāla", and by extension, time as "changing aspect of

nature that bring things to life or death." Her other epithets include Part of a series on

Kālarātri ("the black night"), and Kālikā ("the black one").[5] Shaktism

The homonyms kāla (appointed time) is distinct from kāla (black), but
these became associated through popular etymology. The association is
seen in a passage from the Mahābhārata, depicting a female figure who
carries away the spirits of slain warriors and animals. She is called Kali
Mata ("the dark mother") and also kālī which, as Coburn notes, can be Deities [show]

read here either as a proper name or as a description "the dark blue Scriptures and texts [show]
one".[5] Kālī is also the feminine form of Kāla (an epithet of Shiva) and Schools [show]
thus the consort of Shiva.[6] Scholars [show]
Practices [show]
Origins [ edit ] Festivals and temples [show]
Hugh Urban notes that although the word Kālī appears as early as the Hinduism portal
Atharva Veda, the first use of it as a proper name is in the Kathaka
V ·T ·E
Grhya Sutra (19.7).[7] Kali appears in the Mundaka Upanishad (section
1, chapter 2, verse 4) not explicitly as a goddess, but as the dark blue Part of a series on
tongue of the seven flickering tongues of Agni, the Hindu god of fire.[5] Shaivism
According to David Kinsley, Kāli is first mentioned in Hindu tradition as a
distinct goddess around 600 AD, and these texts "usually place her on
the periphery of Hindu society or on the battlefield."[8]:70 She is often
regarded as the Shakti of Shiva, and is closely associated with him in
various Puranas.

Her most well-known appearance is on the battlefield is in the sixth

century Devi Mahatmyam. The deity of the first chapter of Devi Deities [show]

Mahatmyam is Mahakali, who appears from the body of sleeping Vishnu Scriptures and texts [show]

as goddess Yoga Nidra to wake him up in order to protect Brahma and Philosophy [show]
the World from two demons, Madhu and Kaitabha. When Vishnu woke Practices [show]
up he started a war against the two demons. After a long battle with Lord Schools [show]
Vishnu when the two demons were undefeated Mahakali took the form Scholars [show]
of Mahamaya to enchant the two asuras. When Madhu and Kaitabha Related [show]
were enchanted by Mahakali, Vishnu killed them.[8]:70
V ·T ·E

In later chapters, the story of two demons who were destroyed by Kali
can be found. Chanda and Munda attack the goddess Durga. Durga responds with such anger it causes her face
to turn dark, resulting in Kali appearing out of her forehead. Kali's appearance is dark blue, gaunt with sunken
eyes, and wearing a tiger skin sari and a garland of human heads. She immediately defeats the two demons.
Later in the same battle, the demon Raktabija is undefeated because of his ability to reproduce himself from
every drop of his blood that reaches the ground. Countless Raktabija clones appear on the battlefield. Kali
eventually defeats him by sucking his blood before it can reach the ground, and eating the numerous clones.
Kinsley writes that Kali represents "Durga's personified wrath, her embodied fury".[8]:70

Other origin stories involve Parvati and Shiva. Parvati is typically portrayed as a benign and friendly goddess.
The Linga Purana describes Shiva asking Parvati to defeat the demon Daruka, who received a boon that would
only allow a female to kill him. Parvati merges with Shiva's body, reappearing as Kali to defeat Daruka and his
armies. Her bloodlust gets out of control, only calming when Shiva intervenes. The Vamana Purana has a
different version of Kali's relationship with Parvati. When Shiva addresses Parvati as Kali, "the dark blue one,"
she is greatly offended. Parvati performs austerities to lose her dark complexion and becomes Gauri, the golden
one. Her dark sheath becomes Kausiki, who while enraged, creates Kali.[8]:70 Regarding the relationship
between Kali, Parvati, and Shiva, Kinsley writes that:

In relation to Shiva, she [Kali] appears to play the opposite role from that of Parvati. Parvati calms
Shiva, counterbalancing his antisocial or destructive tendencies; she brings him within the sphere of
domesticity and with her soft glances urges him to moderate the destructive aspects of his tandava
dance. Kali is Shiva's "wife" as it were, provoking him and encouraging him in his mad, antisocial,
disruptive habits. It is never Kali who tames Shiva, but Shiva who must calm Kali.[8]:70

Legends [ edit ]

Kāli appears in the verse of the Mahabharata (10.8.64). She is called Kālarātri (literally, "dark blue night") and
appears to the Pandava soldiers in dreams, until finally, she appears amidst the fighting during an attack by
Drona's son Ashwatthama.

Slayer of Raktabija [ edit ]

In Kāli's most famous legend, Ambika and her assistants, the Matrikas,
wound the demon Raktabija, in various ways and with a variety of weapons
in an attempt to destroy him. They soon find that they have worsened the
situation for with every drop of blood that is dripped from Raktabija he
reproduces a clone of himself. The battlefield becomes increasingly filled
with his duplicates. [8]:118–119 Ambika summons Kāli to combat the demons.
A painting made in Nepal
The Devi Mahatmyam describes: depicting the Goddess Ambika
Leading the Eight Matrikas in
Battle Against the Demon
Out of the surface of her (Ambika’s) forehead, fierce with frown, Raktabija, Folio from a Devi
issued suddenly Kali of terrible countenance, armed with a sword Mahatmya – (top row, from the
left) the Matrikas – Narasimhi,
and noose. Bearing the strange khatvanga (skull-topped staff), Vaishnavi, Kumari, Maheshvari,
decorated with a garland of skulls, clad in a tiger's skin, very Brahmi. (bottom row, from left)
Varahi, Aindri, Chamunda or Kali
appalling owing to her emaciated flesh, with gaping mouth, fearful (drinking the demon's blood),
with her tongue lolling out, having deep reddish eyes, filling the Ambika. On the right, demons
arising from Raktabiīa's blood.
regions of the sky with her roars, falling upon impetuously and
slaughtering the great asuras in that army, she devoured those
hordes of the foes of the devas.[9]

Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain.[8]:118–119 In Devi Mahatmya
version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet
Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda.[10]:72 Chamunda is very often
identified with Kali and is very much like her in appearance and habit.[8]:241 Footnotes In Tantric Kali Kula
Shaktism, Kali is the supreme goddess and she is source of All Goddesses. In Yoginī Tantra, Kālī kills Kolasura
and Ghorasura.

Iconography and forms [ edit ]

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of
her forms, she is described as being black in colour but is most often depicted as blue in popular Indian art. Her
eyes are described as red with intoxication and in absolute rage. Her hair is shown disheveled, small fangs
sometimes protrude out of her mouth, and her tongue is lolling. She is often shown wearing a skirt made of
human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing
on the calm and prostrate Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or
right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.[11]

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and
three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.[12]

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion,
four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.[13]:466

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu
goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible
form, she is also often seen as a great protector.[citation needed]

When the Sri Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this
devotee rhetorically replied, "Maharaj, when they are in trouble your devotees come running to you. But, where
do you run when you are in trouble?"[14]:624[15]

Popular form [ edit ]

Classic depictions of Kali share several features, as follows:

Kali's most common four armed iconographic image shows each hand
carrying variously a Khadga (crescent-shaped sword or a giant sickle), a
trishul (trident), a severed head, and a bowl or skull-cup (kapāla) collecting
the blood of the severed head.

Two of these hands (usually the left) are holding a sword and a severed
head. The sword signifies divine knowledge and the human head signifies
human ego which must be slain by divine knowledge in order to attain
moksha. The other two hands (usually the right) are in the abhaya
(fearlessness) and varada (blessing) mudras, which means her initiated
devotees (or anyone worshipping her with a true heart) will be saved as she
will guide them here and in the hereafter.[13]:477

She has a garland consisting of human heads, variously enumerated at 108

(an auspicious number in Hinduism and the number of countable beads on a
japa mala or rosary for repetition of mantras) or 51, which represents
Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari.
Hindus believe Sanskrit is a language of dynamism, and each of these letters A Tamil depiction of Kali.
represents a form of energy, or a form of Kali. Therefore, she is generally
seen as the mother of language, and all mantras.[13]:475

She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure
(nirguna) being-consciousness-bliss and far above Prakriti. She is shown as very dark as she is Brahman in its
supreme unmanifest state. She has no permanent qualities—she will continue to exist even when the universe
ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her.[13]:463–488

Mahakali [ edit ]
Main article: Mahakali

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली, Bengali: !"#$#%&), literally translated as "Great Kali," is
sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be
used as an honorific of the Goddess Kali,[3]:257 signifying her greatness by the prefix "Mahā-". Mahakali, in
Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death),
an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi
Mahatmya. Here, she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who
allows the cosmic order to be restored.

Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is
carrying a various implement which varies in different accounts, but each of these represents the power of one of
the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is
that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the
interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one
headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods
come only through her grace.

The name Mahakali, when kali is rendered to mean "black", translates to Japanese as Daikoku ( ).

Dakshinakali [ edit ]
Dakshinakali, is the most popular form of Kali in Bengal.[16] She is the
benevolent mother, who protects her devotees and children from mishaps
and misfortunes. There are various versions for the origin of the name
Dakshinakali. Dakshina refers to the gift given to a priest before performing a
ritual or to one's guru. Such gifts are traditionally given with the right hand.
Dakshinakali's two right hands are usually depicted in gestures of blessing
and giving of boons. One version of the origin of her name comes from the
story of Yama, lord of death, who lives in the south (dakshina). When Yama
heard Kali's name, he fled in terror, and so those who worship Kali are said
to be able to overcome death itself.[17][18]:53–55

Dakshinakali is typically shown with her right foot on Shiva's chest—while

depictions showing Kali with her left foot on Shiva's chest depict the even Dakshina Kali, with Siva
devotedly at her feet.
more fearsome Vamakali (Vamakali is typically shown with her left foot on
Shiva's chest). Vamakali is usually worshipped by non-householders.[19] The
pose shows the conclusion of an episode in which Kali was rampaging out of control after destroying many
demons. Shiva, fearing that Kali would not stop until she destroyed the whole universe, could only think of one
way to pacify her. But before that she was confronted by Lord Vishnu in an attempt to cool her down, being her
brother. But as her rage was beyond everything and her being the one with limtless powers, she could not
recognise anyone and ultimately Lord Vishnu had to move out of her way. Seeing this the devas feared grew
even higher. Seeing no way to stop Goddess Mahakali, Lord Shiva lay down on the battlefield so that she would
have to step on him. Seeing her consort under her foot, Kali realized that she had gone too far, and in grief of
what she has done, her blood-red tongue hanged from her mouth, calming her down. In some interpretations of
the story, Shiva was attempting to receive Kali's grace by receiving her foot on his chest.[18]:36–39

There are many different interpretations of the pose held by Dakshinakali, including those of the 18th and 19th-
century bhakti poet-devotees such as Ramprasad Sen. Some have to do with battle imagery and tantric
metaphysics. The most popular is a devotional view. According to Rachel Fell McDermott, the poets portrayed
Siva as "the devotee who falls at [Kali's] feet in devotion, or in the surrender of his ego, or in hopes of gaining
moksha by her touch. In fact, Siva is said to have become so enchanted by Kali that he performed austerities to
win her, and having received the treasure of her feet, held them against his heart in reverence.[4]:54

The growing popularity of worship of a more benign form of Kali, as Dakshinakali, is often attributed to
Krishnananda Agamavagisha. He was a noted Bengali leader of the 17th century and author of a Tantra
encyclopedia called Tantrasara. Kali reportedly appeared to him in a dream and told him to popularize her in a
particular form that would appear to him the following day. The next morning he observed a young woman
making cow dung patties. While placing a patty on a wall, she stood in the alidha pose, with her right foot
forward. When she saw Krishnananda watching her, she was embarrassed and put her tongue between her
teeth. Krishnananada took his previous worship of Kali out of the cremation grounds and into a more domestic
setting.[18]:53–55[20] Krishnananda Agamavagisha was also the guru of the Kali devotee and poet Ramprasad
Sen.[2]:217

Samhara Kali [ edit ]

Samhara Kali, also called Vama Kali, is the embodiment of the power of destruction. Samhara Kali is the most
dangerous and powerful form of Kali. Samhara Kali is the chief goddess of Tantric texts. It is said that if Kali
steps out with the left foot and holds the sword in her right hand, she is in the form of Samhara Kali. She is the
Kali of death, destruction and is worshiped by tantrics. As Samhara Kali she gives death and liberation.
According to the Mahakala Samhita, Samhara Kali is two armed and black in complexion. She stands on a
corpse and holds a freshly cut head and a plate to collect the dripping blood. She is worshiped by warriors,
tantrics – the followers of Tantra.[2]

Other forms [ edit ]

Other forms of Kali popularly worshipped in Bengal include Raksha Kali (form of Kali worshipped for protection
against epidemics and drought), Bhadra Kali and Guhya Kali. Kali is said to have 8, 12, or 21 different forms
according to different traditions. The popular forms are Adya kali, Chintamani Kali, Sparshamani Kali, Santati
Kali, Siddhi Kali, Dakshina Kali, Bhadra Kali, Smashana Kali, Adharvana Bhadra Kali, Kamakala Kali, Guhya
Kali, Hamsa Kali, and Kalasankarshini Kali.[19]

Symbolism [ edit ]

Interpretations of the symbolic meanings of Kali's appearance vary depending on Tantric or devotional approach,
and on whether one views her image in a symbolic, allegorical or mystical fashion.[17]

Physical form [​ edit ]

There are many varied depictions of the different forms of Kali. The most
common form shows her with four arms and hands, showing aspects of both
creation and destruction. The two right hands are often held out in blessing,
one in a mudra saying "fear not" (abhayamudra), the other conferring boons.
Her left hands hold a severed head and blood-covered sword. The sword
severs the bondage of ignorance and ego, represented by the severed head.
One interpretation of Kali's tongue is that the red tongue symbolizes the
rajasic nature being conquered by the white (symbolizing sattvic) nature of
the teeth. Her blackness represents that she is nirguna, beyond all qualities
of nature, and transcendent.[17][18]:53–55

The most widespread interpretation of Kali's extended tongue involve her

embarrassment over the sudden realization that she has stepped on her
In Bengal and Odisha, Kali's
husband's chest. Kali's sudden "modesty and shame" over that act is the extended tongue is widely seen as
prevalent interpretation among Oriya Hindus.[18]:53–55 The biting of the expressing embarrassment over
the realization that her foot is on
tongue conveys the emotion of lajja or modesty, an expression that is widely
her husband's
accepted as the emotion being expressed by Kali.[21][3]:237 In Bengal also, chest.[18]:53–55[21][22][3]:237
Kali's protruding tongue is "widely accepted... as a sign of speechless
embarrassment: a gesture very common among Bengalis."[22][2]:xxiii

The twin earrings of Kali are small embryos. This is because Kali likes devotees who have childlike qualities in
them.[19] The forehead of Kali is seen to be as luminous as the full moon and eternally giving out ambrosia.[19]

Kali is often shown standing with her right foot on Shiva's chest. This represents an episode where Kali was out
of control on the battlefield, such that she was about to destroy the entire universe. Shiva pacified her by laying
down under her foot to pacify and calm her. Shiva is sometimes shown with a blissful smile on his face.[18]:53–55
She is typically shown with a garland of severed heads, often numbering fifty. This can symbolize the letters of
the Sanskrit alphabet and therefore as the primordial sound of Aum from which all creation proceeds. The
severed arms which make up her skirt represent her devotee's karma that she has taken on.[17]

Mother Nature [ edit ]

The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the
planets, and the earth, there was only darkness and everything was created from the darkness. The Dark
appearance of Kali represents the darkness from which everything was born.[2] Her complexion is black, which is
more black than the darkest night ever. As she is also the goddess of Preservation, Kali is worshiped as the
preserver of nature. Kali is standing calm on Shiva, her appearance represents the preservation of mother
nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the
signs of both sun, moon, and fire are visible which represent the driving forces of nature. Kali is not always
thought of as a Dark Goddess. Despite Kali's origins in battle, She evolved to a full-fledged symbol of Mother
Nature in Her creative, nurturing and devouring aspects. She is referred to as a great and loving primordial
Mother Goddess in the Hindu tantric tradition. In this aspect, as Mother Goddess, She is referred to as Kali Ma,
meaning Kali Mother, and millions of Hindus revere Her as such.[23]

There are several interpretations of the symbolism behind the commonly represented image of Kali standing on
Shiva's supine form. A common interpretation is that Shiva symbolizes purusha, the universal unchanging aspect
of reality, or pure consciousness. Kali represents Prakriti, nature or matter, sometimes seen as having a feminine
quality. The merging of these two qualities represent ultimate reality.[8]:88

A tantric interpretation sees Shiva as consciousness and Kali as power or energy. Consciousness and energy
are dependent upon each other, since Shiva depends on Shakti, or energy, in order to fulfill his role in creation,
preservation, and destruction. In this view, without Shakti, Shiva is a corpse—unable to act.[4]:53

Worship [ edit ]

Mantras [ edit ]
Kali could be considered a general concept, like Durga, and is primarily worshiped in the Kali Kula sect of
worship. The closest way of direct worship is Maha Kali or Bhadrakali (Bhadra in Sanskrit means 'gentle'). Kali is
worshiped as one of the 10 Mahavidya forms of Adi Parashakti. One mantra for worship to Kali is:[24]

सवर्मङ् गलमाङ् गल्ये िशवे सवार्थर्सािधके । शरण्ये Sarvamagalamāgalyē śivē sarvārthasādhikē. śaraṇyē
त्र्यम्बके गौिर नारायिण नमोऽस्तु ते ॥ tryambakē Gauri nārāyaṇi namō'stu tē.
ॐ जयंती मंगला काली भद्रकाली कपािलनी । दुगार् Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā
क्षमा िशवा धात्री स्वाहा स्वधा नमोऽस्तुते ॥ ksamā śivā dhātrī svāhā svadhā namō'stu​tē.

In fact, chanting of Mahishasura Mardhini is a daily ritual in all Bengali homes especially during Navratri / Durga
Pujo as it is called.

The chant of the first chapter of Durga Saptashati is considered a very important hymn to Sri Mahakali as Devi
Mahatmyam / Durga Saptashati dates back to the Upanishadic Era of Indological literature.

Tantra [ edit ]
Goddesses play an important role in the study and practice of Tantra Yoga,
and are affirmed to be as central to discerning the nature of reality as are the
male deities. Although Parvati is often said to be the recipient and student of
Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much
of the Tantric iconography, texts, and rituals.[citation needed] In many sources
Kāli is praised as the highest reality or greatest of all deities. The Nirvana-
tantra says the gods Brahma, Vishnu, and Shiva all arise from her like
bubbles in the sea, ceaselessly arising and passing away, leaving their
original source unchanged. The Niruttara-tantra and the Picchila-tantra
declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kali Yantra
Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas
(manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of
the Mahadevi.[8]:122–124

In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial ṥakti, and in one passage Shiva praises
her:

At the dissolution of things, it is Kāla [Time] Who will devour all, and by reason of this He is called
Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the
Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things,
and because of Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial
One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One
ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without
beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and
Destructress that Thou art.[8]:122–124

The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a
"forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and
thereby assimilates and transforms her into a vehicle of salvation.[8]:122–124 This is clear in the work of the
Karpuradi-stotra,[25] short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation
grounds. (Samahana-sadhana)

He, O Mahākāli who in the cremation-ground, who wear skull garland and skirt of bones and with
dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes
offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the
earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but
once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-
ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.[8]:122–124

The Karpuradi-stotra, dated to approximately 10th century ACE,[26] clearly indicates that Kāli is more than a
terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mother of
the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her
appearance also takes a different turn, befitting her role as ruler of the world and object of meditation.[8]:124–125
In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young
and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer
boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who
rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.[8]:125

In Bengali tradition [ edit ]

Kali is a central figure in late medieval Bengal

devotional literature, with such notable devotee
poets as Ramprasad Sen (1718–75). With the exception
of being associated with Parvati as Shiva's consort,
Kāli is rarely pictured in Hindu legends and
iconography as a motherly figure until Bengali
devotions beginning in the early eighteenth century.
Even in Bengāli tradition her appearance and habits
change little, if at all.[8]:126

The Tantric approach to Kāli is to display courage by confronting her on

Kali Puja festival in Kolkata.
cremation grounds in the dead of night, despite her terrible appearance. In
contrast, the Bengali devotee adopts the attitude of a child, coming to love
her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn
acceptance of the way that things are. These themes are addressed in Rāmprasād's work.[8]:125–126 Rāmprasād
comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his
worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother
should and that she ignores his pleas:

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter
of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.[8]:128

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain
from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her
devotees to reflect on dimensions of themselves and of reality that go beyond the material world.[8]:128

A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama
Sangeet ("Music of the Night"). Mostly sung by male vocalists, today women have taken to this form of music.

Kāli is especially venerated in the festival of Kali Puja in eastern India – celebrated when the new moon day of
Ashwin month coincides with the festival of Diwali. The practice of animal sacrifice is still practiced during Kali
Puja in Bengal, Orissa, and Assam, though it is rare outside of those areas. The Hindu temples where this takes
place involves the ritual slaying of goats, chickens and sometimes male water buffalos. Throughout India, the
practice is becoming less common.[27] The rituals in eastern India temples where animals are killed are generally
led by Brahmin priests.[27]:84, 101–104 A number of Tantric Puranas specify the ritual for how the animal should be
killed. A Brahmin priest will recite a mantra in the ear of the animal to be sacrificed, in order to free the animal
from the cycle of life and death. Groups such as People for Animals continue to protest animal sacrifice based on
court rulings forbidding the practice in some locations.[28]

In Tantric Buddhism [ edit ]

Tantric Kali cults such as the Kaula and Krama had a strong influence on
Tantric Buddhism, as can be seen in fierce-looking yoginis and dakinis such
as Vajrayogini and "Krodikali".[29]

In Tibet, Krodikali (alt. Krodhakali, Kālikā, Krodheśvarī, Krishna Krodhini) is

known as Tröma Nagmo (Tib. !ོ་མ་ནག་མོ་, Wyl. khro ma nag mo, Eng. 'The Black
Wrathful Lady').[30][31] She features as a key deity in the practice tradition of
Chöd founded by Machig Labdron and is seen as a fierce form of
Vajrayogini.[32] Other similar fierce deities include the dark blue Ugra Tara
and the lion-faced Simhamukha.[33]

Worship in the Western world [ edit ]

Tröma Nagmo, Tibetan
Theorized early worship [ edit ] Buddhist Krodikali. Detail from a
painting of Machig Labdrön, 19th
A form of Kali worship may have already transmitted to the west already in century.

Medieval times by the wandering Romani. A few authors have drawn

parallels between Kali worship and the ceremonies of the annual pilgrimage in honor of Saint Sarah, also known
as Sara-la-Kali ("Sara the Black", Romani: Sara e Kali), held at Saintes-Maries-de-la-Mer, a place of pilgrimage
for Roma in the Camargue, in southern France.[34][35] Ronald Lee (2001) states:

If we compare the ceremonies with those performed in France at the shrine of Sainte Sara (called Sara
e Kali in Romani), we become aware that the worship of Kali/Durga/Sara has been transferred to a
Christian figure... in France, to a non-existent "sainte" called Sara, who is actually part of the
Kali/Durga/Sara worship among certain groups in India.[36]

In modern times [ edit ]

An academic study of modern-day western Kali enthusiasts noted that, "as shown in the histories of all cross-
cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to
adapt to its new environment."[37] Rachel Fell McDermott, Professor of Asian and Middle Eastern Cultures at
Columbia University and author of several books on Kali, has noted the evolving views in the West regarding Kali
and her worship. In 1998 McDermott wrote that:

A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably,
feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali
is a symbol of wholeness and healing, associated especially with repressed female power and
sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from
a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials
written by scholars of the Hindu religious tradition… It is hard to import the worship of a goddess from
another culture: religious associations and connotations have to be learned, imagined or intuited when
the deep symbolic meanings embedded in the native culture are not available.[37]

By 2003, she amended her previous view.

...cross-cultural borrowing is appropriate and a natural by-product of religious globalization—although

such borrowing ought to be done responsibly and self-consciously. If some Kali enthusiasts, therefore,
careen ahead, reveling in a goddess of power and sex, many others, particularly since the early 1990s,
have decided to reconsider their theological trajectories. These [followers], whether of South Asian
descent or not, are endeavoring to rein in what they perceive as excesses of feminist and New Age
interpretations of the Goddess by choosing to be informed by, moved by, an Indian view of her
character.[4]:285

In popular culture [ edit ]

The tongue and lips logo of the band The Rolling Stones, created in 1971, was inspired by
the stuck-out tongue of Kali.[38][39]

A version of Kali is on the cover of the first issue of feminist magazine Ms., published in
1972. Here, Kali's many arms symbolize the many tasks of the contemporary American
woman.[40][41]

A Thuggee cult of Kali worshippers are villains in Indiana Jones and the Temple of Doom The Rolling
Stones' logo,
(1984), an action-adventure film which takes place in the 1930s.[42] based on the out
stuck tongue of
Mahakali — Anth Hi Aarambh Hai (2017) is an Indian television series in which Parvati Kali
(Mahakali), Shiva's consort, assumes varied forms to destroy evil and protect the
innocent.[43]

See also [ edit ]

Nemesis
Hinduism portal
Sekhmet
India portal

Religion portal

References [ edit ]

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2. ^ a b c d e Harding, Elizabeth U. (1993). Kali: The Black Goddess of Dakshineswar . Nicolas Hays. ISBN 978-
8120814509.
3. ^ a b c d e McDaniel, June (2004). Offering Flowers, Feeding Skulls: Popular Goddess Worship in West Bengal. Oxford
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4. ^ a b c d McDermott, Rachel Fell (2003). Encountering Kali: In the Margins, at the Center, in the West . Berkeley:
University of California Press. ISBN 978-0520232402.
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Encountering Kali: In the Margins, at the Center, in the West. Berkeley: University of California Press (published 2003).
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Berkeley: University of California Press.
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18. ^ a b c d e f g Encountering Kali : in the margins, at the center, in the West . McDermott, Rachel Fell., Kripal, Jeffrey J.
(Jeffrey John). Dehli. ISBN 81-208-2009-6. OCLC 62474775 .
19. ^ a b c d Pravrajika Vedantaprana, Saptahik Bartaman, Volume 28, Issue 23, Bartaman Private Ltd., 6, JBS Haldane
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Princeton University Press. p. 83. ISBN 978-0-691-12048-5. ASIN 069112048X . "Animal sacrifice is still practiced widely
and is an important ritual in popular Hinduism"
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38. ^ Coscarelli, Joe (7 June 2015). "Art of the Rolling Stones: Behind That Zipper and That Tongue" . The New York Times.
Archived from the original on 11 June 2015. Retrieved 9 June 2015.
39. ^ Fornatale, Peter (2013). 50 Licks: Myths and Stories from Half a Century of the Rolling Stones . Bloomsbury
Publishing. pp. 126 . ISBN 978-1408833834.
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SUNY Press. p. 204. ISBN 978-1-4384-6732-0. Retrieved 2 July 2020.
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toward 'one new subversive thing' " . Stanford University. Retrieved 2 July 2020.
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& Francis. ISBN 978-1351584678. Retrieved 6 January 2019.
43. ^ Nathan, Leona (23 July 2017). "Mahakali – Anth Hi Aarambh Hai: Pooja Sharma Says, Playing Mahakali Is A Lifetime
Experience" . India News, Breaking News, Entertainment News | India.com. Retrieved 27 September 2020.

Further reading [ edit ]

Bowker, John (2000). Oxford Concise Dictionary of World Religions. Oxford Press.
Bunce, Frederick W. (1997). A Dictionary of Buddhist and Hindu Iconography (Illustrated). D.K. Print World.
Craven, Roy C. (1997). Indian Art (revised). Thames & Hudson.
Doniger, Wendy (2015). Encyclopædia Britannica Online, Kali . Encyclopædia Britannica.
Harshananda, Swami (1981). Hindu Gods & Goddesses. Ramakrishna Math.