Maanik Dadheechi, Reetika Sharma
A stunning pavilion made of gems can be seen in the middle of the ocean. The goddess Bagalamukhi is sitting on an altar with a lion throne inside this pavilion. She has a fully yellow complexion and is decked out in yellow accessories, clothing, and jewellery. She has a raised club in her right hand and the enemy’s tongue in her left hand. She has a sombre expression and seems inebriated. Her entire body has a golden glow about it. She is seated on a lotus and has four arms and three eyes. She has a yellow crescent moon on her forehead and golden earrings.
Narratives regarding Maa Baglamukhi
There are three narratives about how Maa Bagalamukhi was created. In accordance with the first story, the universe was once in danger of being destroyed during the Krita Yuga due to a cosmic storm. Numerous animals were slain, and god Vishnu, who was perched atop Sesa, the cosmic serpent, was troubled himself. He visited the Haridra sacred pond (turmeric) and implemented austerity measures to address the issue. God Vishnu is also known by the name Pitambara, or he who wears yellow clothes.” As a result of God Vishnu prayers, Devi Tripura-sundari materialised and lit up the entire earth with her being there. She presented Maa Bagalamukhi also known as Devi Pitambara, as she appeared in the pond of turmeric. Maa Baglamukhi used her amazing abilities to quiet the tempest.
In the second narrative, a demon by the name of Madan practised penance and attained the blessing of Vdk siddhi, which permitted him to command anything to occur. He exploited this siddhi for murderous purposes. The gods prayed to Maa Bagalamukhi on being outraged by demon Madan’s mischief. She grabbed hold of the demon’s tongue and silenced his speech, halting his fury. But he asked for him to be worshiped alongside Maa Baglamukhi, and she gave in before she could kill him. He is shown with her because of this.
The Enigmatic Name of Bagalamukhi
“Pitambara Devi” is amongst the most popular names for Maa Bagalamukhi. These names are undeniably distinctive, suggesting particular and distinguishing qualities. Probably meaning “she who has the face of a crane” or “the crane-faced one,” the name “Bagalamukhi” is derived from the Sanskrit word “baka,” which means “crane.” In some sources, Bagalamukhi is even said to have a crane-like head. In reality, several of her portrayals in paintings, such as the one from Kangra from approximately 1800, show her with a crane’s head. She may, however, have a parrot’s snout and a duck’s head, according to some other reports. There is some disagreement over whether this name is a mispronunciation and whether its original meaning had anything to do with the fact that she resembled a bird. The Varanasi Kasi Visvanath temple’s Rama Shankar Tripathi put up an alternative theory. He clarified that her original name was “Valgamukhi,” where “valga” is Sanskrit for “bit” in English. This viewpoint claims that the name refers to her ability to subdue enemies. Goddess Bagalamukhi’s ability enables one to control others, just as a bit in a horse’s mouth controls the animal. Another source claimed that Goddess Bagalamukhi gave her the siddhi of “stambhana,” or “paralysis,” and that her original name was “Valgamukhi,” where “valga” means “to paralyse.”
Shrines Dedicated to Bagalamukhi: A Glimpse into Worship Practices
As Goddess Bagalamukhi’s worship primarily entails solitary sadhana (spiritual practise) and isn’t dependent on open temples or shrines, shrines dedicated to her are very uncommon. Although there are only few notable Bagalamukhi-Pitambara temples, one of them near the Manikarnika Ghat in the ancient section of Varanasi is one such shrine. This temple is a part of a private home, however it is accessible to the general public. As is customary in goddess temples, the deity’s image is typically hidden. The image is concealed at this temple by garments and a silver mask. According to the temple priests, below this covering, the goddess is shown in her well-known form, pulling a demon’s tongue and ready to strike with a club. Although he did not mention stambhana, which is generally connected with Bagalamukhi, the priest claimed that the goddess bestows siddhis related to detachment. A picture of God Shiva is to the goddess’ right, and a picture of Ganesha is to her left. A typical design element in goddess temples is a statue of a crouching lion facing the goddess. Outside the temple, there are massive paintings of Garuda and Krishna that are on exhibit, while the next hall features images of the ten avatars of Vishnu. This temple highlights the close ties between God Shiva, God Vishnu, and the goddess. There is a significant painting of Garuda (the king of birds), which may be significant given that Bagalamukhi is linked to the crane, however the priest made no comment on this association. The priest claims that tantrikas do not frequently visit this temple and that blood sacrifices are not performed there. It mostly benefits locals and average homeowners. In the hall next to the main sanctuary, which contains the goddess’s picture, the sandals of the first chief temple priest are conspicuously displayed. No other Mahavidyas are represented or honoured at this temple.
Another Bagalamukhi temple can be found at Bankhandi, Himachal Pradesh. The small town of Bankhandi, also known as “where the arrow split the ground” because of a folktale about a sadhu who repeatedly shot an arrow into the ground to create a spring, is where this temple is situated. The temple priest claimed that the goddess was originally from Tibet, where she exorcised demons that threatened her followers. This custom points to a northern heritage, which fits with her widespread appeal in Nepal. The main temple shrine is believed to be constructed in dwapar yug by the great pandavas during their agyatvas. The goddess performs the customary duties of a goddess, such as granting wishes, shielding people from harm, and blessing them with offspring. She is still single and has no indication of a lingam or the image of a male companion, the priest said. Additionally, he mentioned that Bagalamukhi is shown sitting on a crane in a framed artwork in the temple, which is another way that her chariot (vahana) is sometimes portrayed. A crane is shown using its beak to swat a demon while another crane flies in to join the fight. The entire temple is painted in the goddess’s favourite shade of yellow, which the priest compared to a crane’s beak. Only the head, cut from rough, black stone, is visible in the actual deity’s depiction, which is said to closely match descriptions in her dhyana mantras.
Datiya in Madhya Pradesh is home to the most well-known Bagalamukhi temple. This temple was built in the 1930s by a sadhu who later went by the name Puja Swami, and it is dedicated to Bagalamukhi, his choice of god. When India was actively engaged in the fight for independence, the sadhu constructed her image with the intention of helping the nation. A recurring theme in the founder priest’s sadhana was patriotism. This shrine highlights Maa Bagalamukhi’s connection to the Mahavidyas by also housing a statue of Dhumavati. Even though the founding priest did not engage in it personally, left-handed tantric worship of Dhumavati is allegedly practised at this shrine. It is stated that whereas Dhumavati’s image is depicted in a more menacing and destructive manner, Bagalamukhi’s appearance is beautiful and she is connected with monetary blessings and welfare.
Follow our WhatsApp channel
