Mother Goddess as Kali: The Feminine Force in Indian Art.

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The worship of a mother goddess as the source of life and fertility

has prehistoric roots, but the transformation of that deity into a

Great goddess of cosmic powers was achieved with the composition of

the Devi Mahatmya (Glory of the goddess), a text of the fifth to

sixth

century, when worship of the female principle took on dramatic new

dimensions. The goddess is not only the mysterious source of life,

she

is the very soil, all-creating and all consuming. Kali makes her

'official' debut in the Devi-Mahatmya, where she is said to have

emanated from the brow of Goddess Durga (slayer of demons) during

one

of the battles between the divine and anti-divine forces.

Etymologically Durga's name means "Beyond Reach". She is thus an

echo of the woman warrior's fierce virginal autonomy. In this context

Kali is considered the 'forceful' form of the great goddess Durga.

 

Kali is represented as a Black woman with four arms; in one hand she

has a sword, in another the head of the demon she has slain, with the

other two she is encouraging her worshippers. For earrings she has

two

dead bodies and wears a necklace of skulls ; her only clothing is a

girdle made of dead men's hands, and her tongue protrudes from her

mouth. Her eyes are red, and her face and breasts are besmeared with

blood. She stands with one foot on the thigh, and another on the

breast of her husband.

 

Kali's fierce appearances have been the subject of extensive

descriptions in several earlier and modern works. Though her fierce

form is filled with awe- inspiring symbols, their real meaning is not

what it first appears- they have equivocal significance:

 

Kali's blackness symbolizes her all-embracing, comprehensive nature,

because black is the color in which all other colors merge; black

absorbs and dissolves them. 'Just as all colors disappear in black,

so

all names and forms disappear in her' (Mahanirvana Tantra). Or black

is said to represent the total absence of color, again signifying the

nature of Kali as ultimate reality. This in Sanskrit is named as

nirguna (beyond all quality and form). Either way, Kali's black

color

symbolizes her transcendence of all form.

 

A devotee poet says:

 

"Is Kali, my Divine Mother, of a black complexion?

She appears black because She is viewed from a distance;

but when intimately known She is no longer so.

The sky appears blue at a distance, but look at it close by

and you will find that it has no colour.

The water of the ocean looks blue at a distance,

but when you go near and take it in your hand,

you find that it is colourless."

 

.... Ramakrishna Paramhansa (1836-86)

 

 

 

Kali's nudity has a similar meaning. In many instances she is

described as garbed in space or sky clad. In her absolute,

primordial

nakedness she is free from all covering of illusion. She is Nature

(Prakriti in Sanskrit), stripped of 'clothes'. It symbolizes that she

is completely beyond name and form, completely beyond the illusory

effects of maya (false consciousness). Her nudity is said to

represent

totally illumined consciousness, unaffected by maya. Kali is the

bright fire of truth, which cannot be hidden by the clothes of

ignorance. Such truth simply burns them away.

 

She is full-breasted; her motherhood is a ceaseless creation. Her

disheveled hair forms a curtain of illusion, the fabric of space -

time which organizes matter out of the chaotic sea of quantum-foam.

Her garland of fifty human heads, each representing one of the fifty

letters of the Sanskrit alphabet, symbolizes the repository of

knowledge and wisdom. She wears a girdle of severed human hands-

hands

that are the principal instruments of work and so signify the action

of karma. Thus the binding effects of this karma have been overcome,

severed, as it were, by devotion to Kali. She has blessed the devotee

by cutting him free from the cycle of karma. Her white teeth are

symbolic of purity (Sans. Sattva), and her lolling tongue which is

red dramatically depicts the fact that she consumes all things and

denotes the act of tasting or enjoying what society regards as

forbidden, i.e. her indiscriminate enjoyment of all the world's

"flavors".

 

Kali's four arms represent the complete circle of creation and

destruction, which is contained within her. She represents the

inherent creative and destructive rhythms of the cosmos. Her right

hands, making the mudras of "fear not" and conferring boons,

represent

the creative aspect of Kali, while the left hands, holding a bloodied

sword and a severed head represent her destructive aspect. The

bloodied sword and severed head symbolize the destruction of

ignorance

and the dawning of knowledge. The sword is the sword of knowledge,

that cuts the knots of ignorance and destroys false consciousness

(the severed head). Kali opens the gates of freedom with this sword,

having cut the eight bonds that bind human beings. Finally her three

eyes represent the sun, moon, and fire, with which she is able to

observe the three modes of time: past, present and future. This

attribute is also the origin of the name Kali, which is the feminine

form of 'Kala', the Sanskrit term for Time.

 

Another symbolic but controversial aspect of Kali is her proximity to

the cremation ground:

 

O Kali, Thou art fond of cremation grounds;

so I have turned my heart into one

That thou, a resident of cremation grounds,

may dance there unceasingly.

O Mother! I have no other fond desire in my heart;

fire of a funeral pyre is burning there;

O Mother! I have preserved the ashes of dead bodies all around

that Thou may come.

O Mother! Keeping Shiva, conqueror of Death, under Thy feet,

Come, dancing to the tune of music;

Prasada waits With his eyes closed

 

.... Ramprasad (1718-75)

 

Kali's dwelling place, the cremation ground denotes a place where the

five elements (Sanskrit: pancha mahabhuta) are dissolved. Kali

dwells

where dissolution takes place. In terms of devotion and worship, this

denotes the dissolving of attachments, anger, lust, and other binding

emotions, feelings, and ideas. The heart of the devotee is where

this

burning takes place, and it is in the heart that Kali dwells. The

devotee makes her image in his heart and under her influence burns

away all limitations and ignorance in the cremation fires. This inner

cremation fire in the heart is the fire of knowledge, (Sanskrit:

gyanagni), which Kali bestows.

 

The image of a recumbent Shiva lying under the feet of Kali

represents

Shiva as the passive potential of creation and Kali as his Shakti.

The

generic term Shakti denotes the Universal feminine creative principle

and the energizing force behind all male divinity including Shiva.

Shakti is known by the general name Devi, from the root 'div',

meaning

to shine. She is the Shining One, who is given different names in

different places and in different appearances, as the symbol of the

life-giving powers of the Universe. It is she that powers him. This

Shakti is expressed as the i in Shiva's name. Without this i, Shiva

becomes Shva, which in Sanskrit means a corpse. Thus suggesting that

without his Shakti, Shiva is powerless or inert.

 

Kali is a particularly appropriate image for conveying the idea of

the

world as the play of the gods. The spontaneous, effortless, dizzying

creativity of the divine reflex is conveyed in her wild appearance.

Insofar as kali is identified with the phenomenal world, she presents

a picture of that world that underlies its ephemeral and

unpredictable nature. In her mad dancing, disheveled hair, and eerie

howl there is made present the hint of a world reeling, careening

out

of control. The world is created and destroyed in Kali's wild

dancing,

and the truth of redemption lies in man's awareness that he is

invited to take part in that dance, to yield to the frenzied beat of

the Mother's dance of life and death.

 

O Kali, my Mother full of Bliss! Enchantress of the almighty Shiva!

In Thy delirious joy Thou dancest, clapping Thy hands together!

Thou art the Mover of all that move, and we are but Thy helpless

toys

 

....Ramakrishna Paramhans

 

Kali and her attendants dance to rhythms pounded out by Shiva (Lord

of

destruction) and his animal-headed attendants who dwell in the

Himalayas. Associated with chaos and uncontrollable destruction,

Kali's own retinue brandishes swords and holds aloft skull cups from

which they drink the blood that intoxicates them. Kali, like Shiva,

has a third eye, but in all other respects the two are distinguished

from one another. In contrast to Shiva's sweet expression, plump

body,

and ash white complexion, dark kali's emaciated limbs, angular

gestures, and fierce grimace convey a wild intensity. Her loose hair,

skull garland, and tiger wrap whip around her body as she stomps and

claps to the rhythm of the dance.

 

Many stories describe Kali's dance with Shiva as one that "threatens

to destroy the world" by its savage power. Art historian Stella

Kramrisch has noted that the image of kali dancing with Shiva follows

closely the myth of the demon Daruka. When Shiva asks his wife

Parvati

to destroy this demon, she enters Shiva's body and transforms herself

from the poison that is stored in his throat. She emerges from Shiva

as Kali, ferocious in appearance, and with the help of her flesh

eating retinue attacks and defeats the demon. Kali however became so

intoxicated by the blood lust of battle that her aroused fury and

wild

hunger threatened to destroy the whole world. She continued her

ferocious rampage until Shiva manifested himself as an infant and lay

crying in the midst of the corpse-strewn field. Kali, deceived by

Shiva's power of illusion, became calm as she suckled the baby. When

evening approached, Shiva performed the dance of creation (tandava)

to please the goddess. Delighted with the dance, Kali and her

attendants joined in.

 

This terrific and poignant imagery starkly reveals the nature of Kali

as the Divine Mother. Ramaprasad expresses his feelings thus:

 

Behold my Mother playing with Shiva,

lost in an ecstasy of joy!

Drunk with a draught of celestial wine,

She reels, and yet does not fall.

Erect She stands on Shiva's bosom,

and the earth Trembles under Her tread;

She and Her Lord are mad with frenzy,

casting Aside all fear and shame.

 

.... Ramprasad (1718-75)

 

Kali's human and maternal qualities continue to define the goddess

for

most of her devotees to this day. In human relationships, the love

between mother and child is usually considered the purest and

strongest. In the same way, the love between the Mother Goddess and

her human children is considered the closest and tenderest

relationship with divinity. Accordingly, Kali's devotees form a

particularly intimate and loving bond with her. But the devotee never

forgets Kali's demonic, frightening aspects. He does not distort

Kali's nature and the truths she reveals; he does not refuse to

meditate on her terrifying features. He mentions these repeatedly in

his songs but is never put off or repelled by them. Kali may be

frightening, the mad, forgetful mistress of a world spinning out of

control, but she is, after all, the Mother of all. As such, she must

be accepted by her children- accepted in wonder and awe, perhaps, but

accepted nevertheless.

 

 

 

 

The poet in an intimate and lighter tone addresses the Mother thus:

 

O Kali! Why dost Thou roam about nude?

Art Thou not ashamed, Mother!

Garb and ornaments Thou hast none;

yet Thou Pridest in being King's daughter.

O Mother! Is it a virtue of Thy family that Thou

Placest thy feet on Thy husband?

Thou art nude; Thy husband is nude; you both roam cremation grounds.

O Mother! We are all ashamed of you; do put on thy garb.

Thou hast cast away Thy necklace of jewels, Mother,

And worn a garland of human heads.

Prasada says, "Mother! Thy fierce beauty has frightened

Thy nude consort.

 

.... Ramaprasad

 

The soul that worships becomes always a little child: the soul that

becomes a child finds God oftenest as mother. In a meditation before

the Blessed Sacrament, some pen has written the exquisite assurance:

"My child, you need not know much in order to please Me. Only Love

Me

dearly. Speak to me, as you would talk to your mother, if she had

taken you in her arms."

 

Kali's boon is won when man confronts or accepts her and the

realities

she dramatically conveys to him. The image of Kali, in a variety of

ways, teaches man that pain, sorrow, decay, death, and destruction

are

not to be overcome or conquered by denying them or explaining them

away. Pain and sorrow are woven into the texture of man's life so

thoroughly that to deny them is ultimately futile. For man to realize

the fullness of his being, for man to exploit his potential as a

human

being, he must finally accept this dimension of existence. Kali's

boon

is freedom, the freedom of the child to revel in the moment, and it

is

won only after confrontation or acceptance of death. To ignore death,

to pretend that one is physically immortal, to pretend that one's ego

is the center of things, is to provoke Kali's mocking laughter. To

confront or accept death, on the contrary, is to realize a mode of

being that can delight and revel in the play of the gods. To accept

one's mortality is to be able to let go, to be able to sing, dance,

and shout. Kali is Mother to her devotees not because she protects

them from the way things really are but because she reveals to them

their mortality and thus releases them to act fully and freely,

releases them from the incredible, binding web of "adult" pretense,

practicality, and rationality.

 

 

Courtesy of exoticindiaart.com