Ritual

so they signify the action of karma or accumulated deeds to be
enjoyed in subsequent births, constantly reminding one that
ultimate freedom is conditioned by the fruits of one's actions. Her
three eyes govern the three forces of creation, preservation and
destruction. Her white teeth, symbolic of Sattva, the translucent
intelligence stuff, suppress her lolling tongue which is red,
indicative of Rajas, a determinate level of existence leading
downwards to Tamas, inertia. Kali has four hands: one left hand
holds a severed head, indicating destruction, and the other carries
the sword of physical extermination, with which she cuts the
thread of bondage. Her two right hands dispel fear and exhort to
spiritual strength. She is the changeless, unlimited primordial
power (adyasakti) acting in the great drama awakening the
unmanifested Siva, a passive onlooker. Their inseparable union
reflects non-duality.
This conception of Kali compares with the magnificent
depiction of Siva as Nataraja, resolving and harmonizing the
opposite attributes of creation and dissolution, the very essence of
every existence.
These images of destruction incarnate appear to be composed in
a surreal reverie. While they blend naturalism and intuition in a
Kali. Madhubani folk painting.
Bihar, contemporary. Gouache on
paper.
Sarvabuddha Dakini. Nepal, 18th
century. Bronze.
Siva as Nataraja, Lord of the
Dance. Siva, engaged in the dance
of the universe, tramples on the
dwarf of illusion, while holding the
drum of creation in his upper right
hand and the fire of destruction in
the corresponding left. His lower
right hand is stretched out in a
gesture of protection (abhaya),
while the gesture of the lower left
symbolizes salvation. The outer
ring of fire (missing) symbolizes
the universe. Tiruvelangadu,
Tamil Nadu, 11th century.
Bronze.
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