GODDESS TRIPURA BHAIRAVI: Bhairavi means ‘terror’ and it also means beyond fear of death. Bhairavi is derived from ‘bharana’ – to create; ramana – to protect and ‘vamana’ to disgorge. This is the cosmic functions of creation, maintenance and destruction. Fifth among the Mahavidyas, She is one of the most powerful and also popular Goddesses. As sparsha devata, she loves contacts, Goddess Bhairavi is the Hindu Goddess of decay. She is also the wisdom Goddesses.
Creation and destruction are two essential aspects of the universe. Bhairavi embodies the principle of destruction. She represents transformation that comes with destruction, which is not necessarily negative. She is also evident in self-destructive habits, such as eating tamasic food associated with ignorance and lust. She is present in wasted semen which weakens males. Anger, jealousy, and selfish emotions strengthen Bhairavi’s presence in the world.
She is an ever present Goddess who manifest in and embodies destructive aspects of the world. This is not a negative attribute as there cannot be creation without decay. This is the process of metabolism in which life feeds on death and creation proceeds by means of transformed energy. Thus Bhairavi is also identified with Mahapralaya, the dissolution at the end of the cosmic cycle. Bhairavi also personifies light and heat that can burn away the imperfections in the soul. Bhairavi is also with other Mahavidyas in Kali Pujas.
DEPICTIONS: She is usually depicted as having red skin, three eyes, and blood smeared on her lips and breasts. She smiles softly and wears a moon on her crown. She is shown holding a book, rosary and fearful boon conferring gestures. Her child-like nature is portrayed as Bala Tripurasundari (posted earlier) which changes to a horrible appearance when she enters a battlefield. When she gives her boons as Goddess Parvathi, she is shown with a donkey vahana. The blood in Her mouth reflects demons that have succumbed in war. In the war front Her body is covered with a tiger skin and skull garland. Her right hands gesture abhaya mudra and vara mudhra.
Bhairavi holds a trident, axe and thunderbolt. As Kala Bhairavi, Her complexion is red similar to thousands of rising-sun and she wears smooth clothes while being skull-garlanded. Kala Bhairavi’s lips are maked with blood. Tripura Bhairavi has three eyes and possesses a moon in her top. She has a swag in her hand and is an embodiment of facts, bravery and boons. Present is a soft smile on her lips. Her garments are red. Her breasts are stained with blood. She wears a diadem made of precious stones. As Sampatprada Bhairavi. She is intoxicated with youthful beauty. She performs the gestures of knowledge, Jnana mudra and granting spiritual gifts and power Varada mudra. She is also Raga Bhairavi or Natabhairavi which is the root source of Bhairavi raga.
TRIPURA BHAIRAVI: Bhairavi is the primal power, Adi Shakti. Goddess Bhairavi is also worshipped in various others forms, such as Tripura Bhairavi, Chaitanya Bhairavi, Siddhh Bhairavi, Bhuvaneshwar Bhairavi, Sampadaprad Bhairavi, Kamaleshwari Bhairavi, Kaleshwari Bhairavi, Kaamershwari Bhairavi, Nitya Bhairavi, Rudra Bhairavi, Bhadra Bhairavi and Shatkuti Bhairavi. Tripura Bhairavi is the goddess of Tantric activities and the supreme terror in the three worlds depicted by the Triple Goddesses Bala Trupurasundari, Tripurasundari and Tripura Bhairavi.
The aspirant who worships Her is released from the cycle of births and deaths. As opposed to the Trinity in the Hindu pantheon, Brahma, Vishnu and Siva and their functions, Tripura Sundari represents full harmony of two fundamental and contradicting aspects being bright beauty and the terrible aspect of the divinity.
This is indeed the perfect correlation of the divine attributes Mother Kali. Notwithstanding, Bhairavi’s specific action is necessary for protection against harmful influences and for spiritual guidance. In the mortal world, this can be seen in a mother’s anger and prompt and determined actions to defend her children. No mother under the sun tolerates exterior threats to her off-springs. From another perspective Tripurasurndari represents the supreme power of speech in the Hindu tantric tradition.
TRIPURA BHAIRAVI AND KALI: Bhairavi’s name means “fierce and terrifying.” These characteristics are virtually indistinguishable from Goddess Kali. Kalarathri, meaning ‘black night’ another attribute of Kali and is linked to Bhairavi and personified as Kala-Bhairavi. As the terrifying aspect of Devi, Bhairavi is distinguished by being the consort of Bhairava, manifestation of Lord Shiva. Kala-Bhairavi is the presiding goddess for this decaying world. It is said that one who wants mastery over his or her sensual powers and desires is to venerate Goddess Kala Bhairavi.
SARASWATHI: Bhairavi is also Saraswathi, drunk with knowledge and desiring to procreate immensely in her tamasic form. Thus She is the ‘warrior’ Goddess, who with Her power of Divine speech and spiritual fire eliminates all obstacles to the unfoldment of true awareness, just as She destroyed the demon Mahishasura. However because of her knowledge, She is beyond tamas in her nirguna state. Her combination of the saguna and nirguna forms leads one to liberation. Ma Bhairavi sees very person Her lover and consumes all their sins in the fire of her knowledge of non-duality. Thus she becomes Svaha in the fire. Svaha - ‘S’ is Shakti; ‘va’ is amritham and ‘ha’ is Shiva.
TEJAS AND TAPAS: The main characteristic of Bhairavi is Her physical form which is in close connection with the manifestation of the subtle element tejas. She represents transforming heat, ‘Tapas’, and also Divine radiance, ‘Tejas’. Tapas is not just asceticism, it is a heightened aspiration that consumes all secondary interests and attachments. She is also the basic will power of life which we strive to master. When the mind is focused on blissful union with Her, it gets one-pointed. In this one-pointedness, all names and forms melt away and non-duality is perceived. An aspirant who drops him mind to become pure Ananda achieves his or her truly cosmic form.
KUNDALINI TANTRA: She dwells in the Muladhara or Root chakra, and is the same as Kundalini. Bhairavi is the low frequenct vibrations and currents which felt rather than heard in the Muladhara. She represents the surging, raging and hissing power of kundalini. She is the hidden divinity, the veiled Godhead, the dormant power, picturesquely depicted as the coiled serpent in deep sleep. That is the passive power of tapas, the immobility caused by deep sleep. She is a maddening deep joy. When She releases forth Her energy, She becomes Sundari. It is said that a yogini is a student of tantra, whereas a Bhairavi is one in yogic status.
WORSHIP: Devotees who chant mantras for Tripura Bhairavi with concentration are blessed with a successful and complete life. The mantra ‘Om Aim Hreem Shree Sundriya Namah’ overcomes all the obstacles and sufferings from their life.
Worship of Bhairavi is also done by the pancha makaras: madya, matsya, mamsa, mudra and maithuna. No himsa is implied in Bhairavi worship, only Ananda. In Madya (wine) one gets drunk with the knowledge the knowledge that you are the supreme power; Matsya (fish) you are the jeeva floating in the paramatma; Mamsa (meat) you can offer yourself to Her; Mudra are her gestures and Maithuna (union) is the spiritual level using inner consciousness. One who offers these acts of worship are said to attain siddhi. Those who understand the essential oneness gets liberated and attains jeevan mukti. Otherwise one is entangled with Her five arrows being, Shabda, Sparsha, Roopa, Rasa and Gandha and deludes them with the illusion of separateness. Om Aim Hreem Shree Sundriya Namah.
By Yogi Ananda Saraswati
Draupadi is one of the central character of Vyasa Muni’s Mahabaratha. How does this heroine become venerated as a Goddess. Well, in Hinduism, no-one forces you venerate any God or Goddess. It is your choice. Some time back a cinema star gave birth to a baby girl. The internet media was flooded with images and messages about 1 baby among the millions that were born. It was cyber epidemic giving the impression that many lives were pinned on that birth. Why? Because the mother is the subject of idol worship in wasted minds!
Draupadi was bold even in adversity. Her husband Yudhisthira succumbed to gambling weakness. He staked and lost himself. Thereafter he stakes Draupadi. Draupadi demands to know if it is possible for Yudhisthira to stake her when he has no standing as his own self belong to the Kauravas. Basically, he did not retain the right to wage her in the gambling. Duryodhana, the winner, insists, Draupadi is his and he pleases to disrobe her. This was a great insult to her honour. Even Bhima was quiet and earns the wrath of karma.
“Sri Krishna…you give pleasure to the senses. You have always removed all of my miseries. Oh beautiful Lord among men, please. I have no one. I have nothing. You are my brother, you are my dearest friend. I have always been able to depend on you. This is my greatest moment of need and I have no other shelter. Please help me.” With this prayer on her lips she lifted her arms and gave up the fight. She closed her eyes and thought of her dear most friend.. There was no end to the disrobing with Lord Krishna coming to her assistance. The Lord considered Draupadi as his sakhi-friend and sister. This event in which Draupadi loosens her coifed hair and vows not to knot it again until she was washed in Duryodhana’s blood, turns her from a strong will woman into a vengeful Goddess.
Draupadi is described to be a divinely beautiful woman with shiny black locks, a compelling complexion and lotus petal eyes. Mahabaratha 1.169.44-46: eye-ravishing Panchali, black-and-smiling-eyed…Dark-skinned Panchali, Lotus-eyed lady, Wavy-haired Panchali, Hair like dark blue clouds, Shining coppery carved nails, Soft eye-lashes, Swelling breasts and Shapely thighs…Blue lotus fragrance for a full krosha flowed from her body…She is known to be very chaste and virtous wife. She was born of the fire of her regal personality equally filled with spark and flame. She was a warrior princess. It is her anger that destroys the sinful Kauravas dynasty. As daughter of Drupada, she is Draupadi. As princess of Panchala, she was called Panchali. As Krishna, she was the dark complexioned beauty. Prashati indicated her being the grand-daughter of Prishata. Sairandhri is her reference to the maid-servant of Queen of Virata. In her youth, she is Nitayauvani. Yajnaseni is a reference to being born out of fire and the overseerof fire sacrifice and fire walking ritual.
Queen Kunti mandates that the Pandava brothers share everything they have. Indeed it was Arjuna that had won the awayamvara target shooting. Panchami refers to her being the wife of the Pandava brothers. In her previous birth, Draupadi desires fourteen qualities and Lord Siva grants her this boon. Thus she marries Yudhithira for his wisdom of dharma; Bhima for his strength; Arjuna for his courage and jnanal Nakula and Sahadeva for their love.The reason that Vyasa Muni gives is Draupadi’s prayer utterances to God five times ‘ God, Give me a husband: Mahabaratha 1.213. It is said that, in taking turns to live live with each of the five husbands, she had the boon to be a virgin every year by walking through the fire to regain her purity. Thus she gets to be called the eternal kanya. In any event, handling five men is symbolic of her strength as a woman. The conceptions are to be seen as symbolic also. Dur to their karma phala, none of her children survive the Krukshetra battle except for Arjun’s grandson Parikshit.
Draupadi is called one of the Pancha Maha Kanyas. She had five heroic and powerful sons: Prativindhya from Dharmaraja, Srutasoma from Bhima, Srutakirti from Arjuna, Satanika from Nakula, and Strutakarman from Sahadeva. She bore much suffering. With patience, courage, and hard-work, she made sure her enemies were annihilated. Along with other female personalities, she is a role model of patience, virtue and bravery.
PURANAS: Draupadi is described as radiant and graceful as if she had descended from the city of Gods. As per The Garuda Purana Draupadi is the incarnation of Bharati-Devi, The Consort of Lord Vayu. As per Narada and Vayu Puranas, Draupadi was composite Avatar of Goddesses Shyamala (wife of Dharma), Bharati (Wife of Vayu), Sachi (wife of Indra), Usha (wife of Ashwinis) and hence married their earthly counterparts in the form of the five Pandavas. Enraged at a jest by Parvati, Shyamala, Sachi and Usha, Brahma cursed them to human birth. Parvati thought of the solution wherein they will be born as one woman, Draupadi and hence share the earthly body for a smaller period of time. They requested Bharati to be with them in their human birth. Draupadi's characteristic fight against injustice reflects Parvati or her Shakti, Kali inhabiting Draupadi's mortal flesh at times. At other times, Draupadi was docile and even waited to be rescued (as in case of Jayadratha and Jatasura) showing the qualities of other goddesses like Sachi and Usha. Other times, she showed astuteness in hiding their true identity and asking Vayu putra Bhima to kill the evil Keechaka like Goddess Bharati would.
INCARNATIONS: Draupadi was also avatar of Goddess Shree or Wealth who was joint wife to Five Pandavas. She was to be born several times for imprisoning the Indras. First time was as Vedavati who cursed Ravana (who is another goddess Avatar Swaha, wife to Agni). She then came again as Maya-Sita especially to take revenge from Ravana while Agni hid the real Sita. Third one was partial either Damyanti (whose husband Nala was equivalent to Dharma, Vayu, Indra just like the Pandavas) and her daughter Nalayani. She married Sage Mudgala. The fifth avatar was Draupadi herself. So we find in Draupadi, a composite avatar of Kali, Parvati, Sachi, Shyamala, Usha, Bharati, Shree, Swaha, the eight goddesses.
Goddess Draupadi is also venerated as Draupadi Ammam. This rural deity has unique rituals that binds the society together. Draupadi Amman is the Goddess of Fortune. The Draupadi cult plays a pivotal role in bhakti. Here Draupadi, irrespective of Mahabaratha accounts, is raised to a Goddess platform. Villiputtur’s Tamil version of the Mahabaratha, describes Draupadi as ‘She who must be obeyed. The South Indian cult sculpts her holding a closed lotus but symbolising virginity as opposed to the open lotus of fertility. She is also in control of the parrot which is the vehicle of Kamadeva, the God of desire. Her Tamil milieu links her with Goddess Minakshi of Madurai and Goddess Kamachi of Kanchipuram. Draupadi bhakti is far removed from some of the Mahabaratha shortcomings as the essence in spiritualism is to transcend to see the Truth. That is your own Truth in which one exercises the burden of choice of the personal God or Goddess. Hari Om
Yogi Ananda Saraswati
GODDESS BHRAMARI, THE NECTARINE GODDESS:
The queen bee is to her hive as a Goddess is to her earthlings. Bees serve as images of the miraculous interconnectedness of life. Bees secrete the golden essence of life while living in an intricate cellular structure. The busy bee, following the impulsion of nature, while pollinating flowers gather their nectar to be transformed into madhu – honey. This is similar to continued activity by human who gather crops and transform them into food. The queen bee, who all others serve during their brief life is symbolic of prakrithi and Goddess. Throughout the ages bees and honey have inspired vedic writers and poets; hence the term sacred bees.
Bhramari Devi is the Goddess of Black Bees. In Srimad Devi Bagavatam: Book 10, Chapter 13, Maharishi Veda Vyasa speaking in the voice of the sage Narada questions Lord Vishnu: “O Wise One! Who is that Bhramari Devi? What is Her Nature? Narayana states the mythology as thus. ArunadAnava, an asura wanted to establish a kingdom by driving out the devas. Aruna tries to compromise the chastity of the god’s wives. He invaded the heavens and dislodged the devas from their abodes. Aruna and his army effortlessly moved into the cities.
The devas rushed to Lord Siva who summoned his fellow demons and their wives. The wives were brought before Lord Shiva. Out of fear they prayed to Goddess Parameshwari Devi for help. Pameshwari Devi transformed herself into a large bee from which a swarm of bees emanated. These bees surrounded the wives and sent out further lines of black bees which joined those emerging from her hands to cover the whole earth. The sky was overcast with this swarm and the world was cast into darkness.
Nature was filled with bees and was a spectacle of a terrific sight. The demons were torn apart by the bees and the asuras were rendered helpless and incommunicado. They could not use their weapons. Adi Shakti appeared as the divine bee and said "O, asura! Meet your end!" And she stung him to death. Even, Brahma, Vishnu and Maheswara wondered “Whose Maya is this! What a wonder that She will do like this?” The devis thanked Parmeshwari Devi for saving their chastity and sang ‘victory to the Devi’. The various musical instruments, mridangas, murajas and sankhas, bells all sounded in the three worlds and sung Her glory. Devi became glad and gave them separate boon when they went to her lotus feet.
That is how Devi got the name of 'Bhramari Devi' as the protector. Brahmari is worshipped on the eighth night of the Navarathri festival. The Bhramari Devi Temple or Kote-ke-mai Temple is attributed toi the Goddess of Bees. There the main deity, Goddess Bhramari is facing north and devotees offer prayer from the south direction of the temple. It is said that Adi Guru Shankaracharya spent valuable time in the Kot Brahmari temple situated at the top of a mount enclosed by a fort in Kasauni.
DURGA: Bhramari is also said to be an epithet of Goddes Durga who saves the devas from ArunadAnava. As Bhramaralaka, the bee curl on Her forehead connotes bright charming splendor of her forehead gives solace to her devotees.
KUNDALINI YOGA: Bhramari Devi is connected to the teachings of chakras. These seven realms of consciousness emanate from the first sound -- the pulse of the cosmic drum -- the heartbeat of the goddess. The Maha Devi or Great Goddess, Kundalini, manifests in sound form as a queen bee -Bhramari Devi surrounded by a cloud of buzzing bees. This lightening like goddess awakens in a buzz of ascending consciousness and descending spiritual grace. As this buzzing energy rises up the spine it illuminates the chakras which are interconnected with areas of the brain that are silent in the unawakened state. The chakras function as switches that explode the brain into awareness as these dormant areas are activated.
KARNA’S CURSE: Karna’s yogic training was coming to a completion. One day Karna offered his lap for his guru Parashurama Muni to lay his lap, when he wanted to take a nap. They were under the shadow of a tree. While Parashurama was asleep, Lord Indra came in the disguise of a bee and drilled through Karna’s lap. Karna did not want to disturb his guru, so he tolerated the pain. Suddenly Parashurama was woken up by the blood oozing out from Karna’s lap and demanded to know who Karna really was. Only a kshatriya could endure such pain. Parashurama who had sworn vengence against kshatriyas cursed Karna that at the moment of greatest need, Karna would forget the mantra to wield the divine weapon Brahmastra. Later he regrets cursing his star pupil. The curse could not be withdrawn. Instead the Muni gave Karna the gift of Bhargavastra, a celestial weapon and a bow called Vijaya.
MADHU VIDYA IN THE UPANISHADS: The Upanishads, besides delineating various spiritual experiences, also give a few hints on sadhana, i.e., paths of spiritual realization. These methods of sadhana are called vidyas. This post outlines this in brief. Madhu means honey. Madhu Vidhya aims to realize the Universe as a creation of Bliss. Madhuvidhya or ‘Nectarine Wisdom’ is a priceless gift from our ancient rishis. They saw the radiating light rays as nectarine nerves. ‘Om. This Sun is verily the nectar of Gods’ - Chandogya Upanishad 3.1.1.
“ Let every wind that blows drop honey
Let the rivers and streams recreate honey
Let all our medicines turn honey
Let the dawn and evening be full of honey
Let the dark particles be converted to honey
Our nourisher, this sky above, be full of honey
Let our trees be honey
Let the Sun be honey
Let our cows secrete honey” Rig Veda 1:90:6-8
‘Nectarine Doctrine’ is best dealt under a separate heading together with Savita worship in the days ahead.
The Shakti Pithas (Sanskrit: शक्ति पीठ, Bengali: শক্তিপীঠ, Śakti Pīṭha, seat of Shakti) are places of worship consecrated to the goddess Shakti or Sati, the female principal of Hinduism and the main deity of the Shakta sect. They are sprinkled throughout the Indian subcontinent.
This goddess Shakti, the goddess of power is the complete incarnation of Adi Shakti, has three chief manifestations, as Durga, goddess of strength and valour, as Mahakali, goddess of destruction of evil and as Goddess Gowri, the goddess of benevolence.
Adi Shakti Peethas
Legend Shiva carrying the corpse of Dakshayani When Lord Bhrahma was tired creating the universe, he performed a yagya to make Lord Shiva happy and then Lord Shiva appeared and sacrificed Shakti which helped Bhrahma in the creation of the universe.
Then Bhrahma decided that one day Shakti would be given back to Lord Shiva. Therefore, Daksh (son of Bhrahma) performed several yagya's to obtain Shakti as his daughter in the form of Sati. It was then decided that Sati was brought into this world with the motive of getting married to Shiva.
However, due to Lord Shiva's curse to Bhrahma that he would not be worshiped and also his fifth head was cut off due to his lie in front of Lord Shiva..... Daksha started hating Lord Shiva and changed his will that at any cost he will not let Lord Shiva and Sati married.
But Destiny has its own fate, series of incidents happenned due to which Sati got attracted to Lord Shiva and finally one day Lord Shiva and Sati got married. This however not reduced Daksh's hatred towards Lord Shiva, on the contrary it started increasing.
Hence one day, in Satya Yuga, Daksha performed a yagna with a desire to take revenge on Lord Shiva. Daksha was angry because his daughter Dakshayani also known as Sati had married the 'yogi' God Shiva against his wish. Daksha invited all the deities to theyagna except for Shiva and Shakti. The fact that she was not invited did not deter Shakti from attending the yagna. She had expressed her desire to attend to Shiva who had tried his best to dissuade her from going. Shiva eventually allowed her to go escorted by his followers.
But Sati, being an uninvited guest, was not given any respect. Furthermore, Daksha insulted Shiva. Sati was unable to bear her father's insults toward her husband, so Dakshayani (the other name of Sati meaning the daughter of Daksha) invoked her yogic powers and immolated herself.
Enraged at the insult and the injury, Shiva destroyed Daksha's sacrifice, cut off Daksha's head, and later replaced it with that of a male goat as he restored him to life due to the prayers of all demi gods and Brahma. Still immersed in grief, Shiva picked up the remains of Sati's body, and performed the Tandava,the celestial dance of destruction, across all creation. The other gods requested Vishnu to intervene to stop this destruction, towards which Vishnu used the Sudarshana Chakra, which cut through the corpse of Sati. The various parts of the body fell at several spots all through the Indian subcontinent and formed sites which are known as Shakti Peethas today.
At all the Shakti Peethas, the Goddess Shakti is accompanied by Lord Bhairava (a manifestation of Lord Shiva).
Four Adi Shakti Pithas Some of the great religious texts like the Shiva Purana, the Devi Bhagavata, the Kalika Purana and the AstaShakti recognize four major Shakti Pithas (centers),
1. Bimala (Pada Khanda) (inside the Jagannath temple of Puri, Orissa), Tara Tarini (Sthana Khanda,
2. Purnagiri ,Breasts) (Near Berhampur, Orissa),
3. Kamakhya (Yoni khanda) (Near Guwahati, Assam) and
4. Dakhina Kalika (Mukha khanda) (Kolkata, West Bengal) originated from the limbs of the Corpse of Mata Sati in the Satya Yuga.
The Astashakti and Kalika Purana says (in Sanskrit):
"Bimala Pada khandancha,
Sthana khandancha Tarini (Tara Tarini),
Kamakshya Yoni khandancha,
Mukha khandancha Kalika (Dakshina Kalika)
Anga pratyanga sanghena
Vishnu Chakra Kshyta nacha"
Further explaining the importance of these four Pithas, the "Brihat Samhita" also gives the location of these Pithas as
Rushikulya* Tatae Devi,
Tashya Srunga Stitha Tara
* (Rushikulya is a holy river flowing on the foot hill of the Tara Tarini Hill Shrine).
"Shakti" refers to the Goddess worshipped at each location, all being manifestations of Dakshayani, Parvati or Durga;
1.Puri, Orissa (inside Jagannath Temple complex)PadaBimala
2. Near Berhampur-Orissa Sthana khandaTara Tarini
3. Guwahati-AssamYoni khanda Kamakshya
4. Kolkata- West Bengal Mukha khanda Dakshina Kalika
Apart from these four there are 52 other famous Peethas recognised by religious texts.
According to the Pithanirnaya Tantra the 52 peethas are scattered all over India, Sri Lanka, Bangladesh, Nepal, Tibet, Bhutan and Pakistan. The Shivacharita besides listing 52 maha-peethas, speaks about 26 more upa-peethas.
The Bengali almanac, Vishuddha Siddhanta Panjika too describes the 52 peethas including the present modified addresses. A few of the several accepted listings are given below. One of the few in South India, Srisailam inAndhra Pradesh became the site for a 2nd century temple.
The 52 Shakti Pithas listed below & a few more:
-......."Body Part or Ornament" refers to the body part or piece of jewellery that fell to earth, at the location on which the respective temple is built.
-...... "Shakti" refers to the Goddess worshipped at each location, all being manifestations of Dakshayani, Parvati or Durga;
-........"Bhairava" refers to the corresponding consort, each a manifestation of Shiva;
1. Kanchipuram, Kamakshi temple, Kamakoti Peetam mentioned in Lalita Sahasram, Trishati, Astothram etc.Ottiyana (Ornament covering stomach) (shakti) Kamakshi / (Shiva) Kaal Bhairav
2. Nainativu (Manipallavam), Northern Province, Sri Lanka. Located 36 km from the ancient capital of the Jaffna kingdom, Nallur. The murti of the Goddess is believed to have been consecrated and worshipped by Lord Indra. The protagonist, Lord Rama and antagonist, Ravana of the Sanskrit epic Ramayana have offered obeisances to the Goddess. Nāga and Garuda of the Sanskrit epic Mahabharata; resolved their long standing feuds after worshipping this Goddess. Silambu (Anklets...........shakti...Indrakshi (Nagapooshani /Bhuvaneswari)/ .... Shiva/ Rakshaseshwar (Nayanair)
3. Shivaharkaray, a little distance from Sukkur Station from Karachi, Pakistan Eyes..... Shakti Mahishmardini / Shiva...Krodhish
4. Sugandha, situated in Shikarpur, Gournadi, about 20 km from Barisal town, Bangladesh, on the banks of Sonda river. Nose........ Shakti Sugandha/ Shiva Trayambak
5. Amarnath in Kashmir, India from Srinagar through Pahalgam 94 km by Bus, Chandanwari 16 km by walk Throat......... shakti Mahamaya / Shiva..Trisandhyeshwar
6. Jwalamukhi, Kangra, India from Pathankot alight at Jwalamukhi Road Station from there 20 km Tongue....... shakti Siddhida (Ambika) .......Shiva Unmatta Bhairav
7. Ambaji, at Anart, Gujarat, India Heart Ambaji
8. Nepal, near Pashupatinath Temple at Guhyeshwari Temple Both knees MahashiraKapali
9. Manas, under Tibet at the foot of Mount Kailash in Lake Mansarovar, a piece of StoneRight handDakshayaniAmar
10. Bardhaman in West Bengal, India NavelMata Sarbamangala DeviBhagwan Shiv/Mahadev
11. Gandaki in Pokhara, Nepal about 125 km on the banks of Gandaki river where Muktinath temple is situatedTempleGandaki ChandiChakrapani
12. Bahula, on the banks of Ajay river at Ketugram, 8 km from Katwa, Burdwan, West Bengal, IndiaLeft armGoddess BahulaBhiruk
13. Ujaani, 16 km from Guskara station under Burdwan district of West Bengal, IndiaRight wristMangal ChandikaKapilambar
14. Udaipur, Tripura, at the top of the hills known as Tripura Sundari temple near Radhakishorepur village, a little distance away from Udaipur town of Tripura, IndiaRight legTripura SundariTripuresh
15. On Chandranath hill near Sitakunda station of Chittagong District, Bangladesh. The famous Chandranath Temple on the top of the hill is the Bhairav temple of this Shakti Peetha, not the Shakti Peeth itself.Right armBhawaniChandrashekhar
16. Locally known as Bhramari Devi. Behind a rice mill, near Jalpesh Temple in Jalpaiguri, West Bengal, India.Left legBhraamariAmbar
17. Kamgiri, Kamakhya, in the Neelachal hills near Guwahati, capital of Assam, IndiaGenitalsKamakhyaUmanand
18. yoga adya at Khirgram under Burdwan district, West Bengal, India Big Toe (Right)JugaadyaKsheer Khandak
19. Kalipeeth, (Kalighat, Kolkata), India Right ToesKalikaNakuleshwar
20. Prayag near Sangam at Allahabad, Uttar Pradesh, IndiaFingerAlopi Devi Mandiror MadhaveswariBhava
21. Jayanti at Nartiang village in the Jaintia Hills district of Meghalaya state, India. This Shakti Peetha is locally known as the Nartiang Durga Temple.Left thighJayantiKramadishwar
22. Kireet at Kireetkona village, 3 km from Lalbag Court Road station under district Murshidabad, West Bengal, India CrownVimlaSanwart
23. Varanasi at Manikarnika Ghat on banks of the Ganges at Kashi, Uttar Pradesh, IndiaEarringVishalakshi & ManikarniKalbhairav
24. Kanyashram, Kanyakumari the Bhadrakali temple within the precincts of Kumari temple, Tamil Nadu, India (also thought to be situated in Chittagong, Bangladesh)BackSarvaniNimish
25. Present day Kurukshetra town or Thanesar ancient Sthaneshwar, at Haryana, India Ankle boneSavitri/BhadraKaliSthanu
26. Manibandh, at Gayatri hills near Pushkar 11 km north-west of Ajmer, Rajasthan, India Two BraceletsGayatriSarvanand
27. Shri Shail, at Joinpur village, Dakshin Surma, near Gotatikar, 3 km north-east of Sylhet town, Bangladesh Neck Mahalaxmi Sambaranand
28. Kankalitala, on the banks of Kopai River 10 km north-east of Bolpur station in Birbhum district, Devi locally known as Kankaleshwari West Bengal, India Bone Devgarbha Ruru
29. Kalmadhav on the banks of Shon river in a cave over hills near to Amarkantak, Madhya Pradesh, India Left buttock Kali Asitang
30. Shondesh, at the source point of Narmada River in Amarkantak, Madhya Pradesh, India Right buttock NarmadaBhadrasen
31. Ramgiri, at Chitrakuta on the Jhansi Manikpur railway line in Uttar Pradesh, India Right breast Shivani Chanda
32. Vrindavan, near new bus stand on Bhuteshwar road within Bhuteshwar Mahadev Temple, Vrindavan, Uttar Pradesh, India Ringlets of hair Uma Bhutesh
33. Shuchi, in a Shiva temple at Suchindrum 11 km on Kanyakumari Trivandrum road, Tamil Nadu, India Upper teeth Narayani Sanhar
34. Panchsagar exact location not known (thought to be near Haridwar)Bottom teethVarahiMaharudra
35. Bhavanipur union, at Karatoyatat, 28 km distance from interior Sherpur upazila, Bogra District, BangladeshLeft anklet (ornament) Arpana Vaman
36. Shri Parvat, near Ladak, Kashmir, India. Another belief: at Srisailam in Shriparvat hills under Kurnool district, Andhra Pradesh, India Right anklet (ornament)ShrisundariSundaranand
37. Vibhash, at Tamluk under district Purba Medinipur, West Bengal, India Left ankle Kapalini (Bhimarupa)Sarvanand
38. Prabhas, 4 km from Veraval station near Somnath temple in Junagadh district of Gujarat, India Stomach Chandrabhaga Vakratund
39. Bhairavparvat, at Bhairav hills on the banks of Shipra river a little distance from Ujjaini town, Madhya Pradesh, India Upper lips Avanti Lambkarna
40. Goddess Saptashrungi (Goddess with 18 arms)]], at Vani in Nasik, Maharashtra, India Chin (2 parts)BhramariVikritaksh
41. Sarvashail or Godavaritir, at Kotilingeswar temple on the banks of Godavari river near Rajamundry, Andhra Pradesh, India Cheeks Rakini or VishweshwariVatsnabh or Dandpani
42. Virat, near Bharatpur, Rajasthan, India Left toes Ambika Amriteshwar
43. Locally known as Anandamayee Temple. Ratnavali, on the banks of Ratnakar river at Khanakul-Krishnanagar, district Hooghly, West Bengal, Right Shoulder Kumari Shiva
44. Mithila, near Janakpur railway station on the border of India and Nepal Left shoulder Uma Mahodar
45. Nalhati, known as "Nalateshwari Temple" near Nalhati station of Birbhum district, West Bengal, India Vocal chord with part of the tracheae Kalika Devi Yogesh
46. Karnat, Kangra, himachalpradesh. Both ears Jayadurga Abhiru
47. Bakreshwar, on the banks of Paaphara river, 24 km distance from Siuri Town, district Birbhum, 7 km from Dubrajpur Rly. Station West Bengal, India Portion between the eyebrows Mahishmardini Vakranath
48. Jessoreswari, situated at Ishwaripur, Shyamnagar, district Satkhira, Bangladesh. The temple complex was built byMaharaja Pratapaditya, whose capital was Ishwaripur. Palms of hands and soles of the feet Jashoreshwari Chanda
49. Attahas village of Dakshindihi in the district of Bardhaman, near the Katwa railway station, in West Bengal, India Lips Phullara Vishvesh
50. Sainthia, locally Known as "Nandikeshwari" temple. Only 1.5 km from the railway station under a banyan tree within a boundary wall, Birbhum district, West Bengal, IndiaNecklaceNandiniNandikeshwar
51. Hinglaj (Or Hingula), southern Baluchistan a few hours North-east of Gawadar and about 125 km towards North-west from Karachi, PakistanBramharandhra (Part of the head)KottariBhimlochan
52. Danestwari (Kuldevi Of Bastar state ), Dantewada 80 km from Jagdalpur Tehsil, ChhattisgarhDaant (teeth)DanteshwariKapalbhairv
53. Vajreshwari , Kangra 18 km from Dharamshala Tehsil, Kangraleft Breast (teeth)VajreshwariKalbhairv
53. [Padmavati Devi] (Padmavatipuri Dham), Panns 80 km from Satna Madhya PradeshPadmPadmavati DeviKapalbhairav
54. Tarapith, on the banks of Dwarka river, about 6 km from Rampurhat sub-division, Birbhum district, West Bengal, India Third eye or spiritual eye (Tara)Tara
55. Chandika Sthan or chandisthan, at Munger temple on the banks of Ganges near Ganga Darshan, Bihar, IndiaLeft eyeChandika or Chandi deviBholeshankar
56. Patan Devi , at Tulsipur railway station on the border of India and Nepal dist.Balrampur near gorakhpur, uttar pradesh,Indialeft shoulder with clothsBadi Patan Devi/chhoti Patan DeviBhairav57Arbuda Devi, at Mount Abu, Rajasthan, IndiaAdharArbuda Devi or Adhar DeviBhairav
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