The 64 Yoginis

Reclaiming a Lost Tradition

Ancient Odisha, also known as Kalinga, has long been a seat of diverse religions, cults, and sects. For centuries, it was home to Jainism, Buddhism, Shaktism, Shaivism, and later, Vaishnavism. Bhubaneswar, the modern capital of Odisha, was known in ancient texts as Ekamra Kshetra. Here, Lord Lingaraj established himself as Swayambhu (self-manifested) and is revered as Tribhuvaneshvara.

Kalinga was once a major center for Buddhism, which saw the peak of Tantric Buddhism in this region. Concurrently, the worship of Shakti was also prominent. Although the mother goddess cult is a branch of Hinduism, Shaktism in Ekamra Kshetra developed unique characteristics, where Tantric practices became highly prominent alongside the Shaivite cult, reaching great heights. This is clearly evidenced by the archaeological remains throughout Bhubaneswar, which show a progression from Buddhist Tantra to Brahmanical Tantra practices.

Bhubaneswar, known as the temple city of India, contains abundant archaeological remains that highlight these Tantric traditions. The Boital Temple, or Tinimundia Deul, is architecturally unique. Built in the Khakhara style, it is an outlier in the Kalingan temple-building tradition. Its presiding deity is Kapalini, a fierce form of Chamunda, depicted mounted on a corpse. This was a prominent Tantric temple, and it is believed that human sacrifices were performed here in ancient times.

Similarly, the Mohini Temple, situated on the western bank of the sacred Bindusagar Tank, also houses Chamunda as its presiding deity. Images of mother goddesses are found in many of Bhubaneswar's temples. Notably, eight goddesses known as the Asta Chandi are established around the Lingaraj Temple. These goddesses—Gauri, Uttareshwari (Dwarabasini), Unaravani, Vindhyavasini, Kapalini, Ramayani, Mohini, and Ambayani—are central to the site's spiritual geography. Additionally, numerous Matrika (mother) figures are sculpted on the temples.

Therefore, it is evident that Ekamra Kshetra, or Bhubaneswar, while a paramount Shaivite site, was also a major center for the worship of the mother goddess and the practice of the Shakti cult.

YOGINI CULT

According to scholar Vidya Dehejia, “The Yogini Cult is definitely Tantrik in nature." Tantra itself, with its primitive ideas on the efficacy of magical rituals, spells, sounds, and gestures, is a movement with deep connections to rural and tribal traditions. To trace the origins of the Yoginis, we must look to simple village cults and the Grama Devatas or Gram Devatis (local village gods and goddesses). In the villages of India, these are the favoured deities, while the Brahminical gods are of lesser importance.

A gradual transformation occurred with these village goddesses, and they were consolidated into potent numerical groupings, most commonly sixty-four, paving the way for the establishment of the sixty-four Yogini cult. Sometimes the numbers are eighty-one or forty-two, representing a distinct cult with unique characteristics. Tantrism served to elevate these village goddesses, providing them with new forms and vigour as a collective who could bestow magical powers upon their worshippers.”

In architectural planning, Yogini temples are uniquely circular and open to the sky, devoid of any roof. The circle is generally divided into sixty-four compartments known as ara (ray) or dala (petal). Dehejia further mentions that the Yoginis along the inner walls of these open-air temples are usually depicted as beautiful women with rounded breasts, slender waists, and broad hips. They are ornamented with necklaces, garlands, anklets, bangles, earrings, and elaborate headdresses with unique hairstyles. However, the Yoginis also present a number of varying countenances, some of which are clearly non-human.

Archaeological remains suggest that the Yogini cult was of impelling and vital significance from the 9th to the 12th centuries. Later inscriptions added to certain Yogini temples indicate that the shrines were active even in the early 16th century. The reason for and timing of the cult's decline into obscurity remain shrouded in mystery.

Puranic texts provide an analysis of the sixty-four Yoginis, suggesting they are regarded as varying aspects of the great goddess, who through them manifests the totality of her presence. The Skanda Purana contains one such list of names which illustrates the divine nature of the Yoginis and includes several well-known epithets of the goddess or deities attendant upon her. The Devi's consort, Shiva, has a host of ganas as attendants. These ganas are described in texts and depicted in sculptures with human bodies, but often with the heads of various birds and animals.

The tradition of the sixty-four Yoginis, often in groups of eight, is derived from the tradition of the Asta Matrikas (Eight Mothers). The well-known tradition of the Sapta Matrika (Seven Mothers) was further expanded to eight, nine, or sixteen, and was worshipped throughout the Indian subcontinent. This derivation of sixty-four Yoginis from eight Matrikas can be found in the 146th chapter of the Agni Purana. The eight mothers are Brahmani, Maheshvari, Kaumari, Vaishnavi, Aindri, Chamunda, Mohalaxmi, and Varahi.

The famous 15th-century Odia poet Sarala Das, in his Chandi Purana, reinforces the concept of the Yogini. He mentions that the sixty-four Yoginis were formed from different parts of the Devi's body—from her voice, sweat, navel, forehead, cheeks, lips, ears, limbs, toenails, womb, and even from her anger. According to the Skanda Purana, Devi created the circle of Yoginis from herself to aid in her fight with the great demon Mahishasura. The Devi Bhagavata Purana mentions Manidvipa (the jeweled isle) as the home of Devi Bhubaneswari and also provides a list of sixty-four aspects of the Devi, referred to as sixty-four katas.

64 Yogini Temple, Hirapur, Odisha.

The Sixty-Four Yogini Temple at Hirapur is the smallest such shrine discovered in India. Hirapur is situated east of the temple city of Bhubaneswar. Historians and archaeologists have dated the construction of the Hirapur Temple to the 9th century A.D.

There is no definitive information regarding the dynasty ruling Odisha around 900 A.D., when the Hirapur Yogini Temple was built. The early Bhaumakara kings ceased their reign by 940 A.D., and the Somavansi rulers took power around 1000 A.D. Mrs. Vidya Dehejia, a leading authority on the Yogini cult, opines that the temple was likely constructed during this transitional period. She suggests the Bhanja rulers of the Boudh group, who were known worshippers of the Goddess and often styled themselves as "forwarded by goddess" in their inscriptions, may have temporarily extended their rule to the coastal area and been responsible for its construction.

The temple is located on the outskirts of the village amidst paddy fields, not far from the southern bank of the Kuakhai River. The old Jagannath Road to Puri passed by this village. The temple city of Bhubaneswar is just six kilometers away in aerial distance, with the ancient fort of Sisupalgarh standing between the two sites. The surrounding area also houses the famous Shiva shrine of Kundaleswar (or Bhaba Kundaleswar) in the nearby village of Umadei-Brahmapura, now called Tankapani after the Goddess Tankapani, who is established beneath a banyan tree.

Some legends state that the village of Hirapur was established by a queen named Hiradei or Hira Mohadei. Others claim that the village is so named because of a legendary rain of hira (diamonds) that once fell there.

The Sixty-Four Yogini Temple came to public knowledge only in 1953. It was discovered by Kedarnath Mohapatra, a famous historian and archaeologist of Odisha. He narrates:

"In the course of my official tour to survey antiquities and palm-leaf manuscripts in villages under the Balianta Police Station of Puri District in January 1953, I unexpectedly received information from a village Chowkidar while encamped in the historical village Alwarpar. He reported the existence of a circular enclosure containing images of various Gods and Goddesses in the village of Hirapur, two miles from my camp. This information aroused the hope of discovering an unknown monument, resembling the famous circular cloister in the village of Ranipur-Jharial in Balangir District, which I had visited twice before. On the early morning of 24th January 1953, I hastened there with my informant and, to my overwhelming joy, discovered another hypaethral temple of 64 Yoginis at that place, which resembled the three other known temples in many respects."

The Hirapur Yogini Temple is the smallest of all the sixty-four Yogini temples in India. The circular enclosure, built of coarse sandstone blocks, has an outer diameter of 30 feet and stands 8 feet high. The entrance is connected to the enclosure by a vestibule, and the foundation is made of laterite stone. As is characteristic of such structures, the enclosure is open to the sky, a feature that defines these hypaethral temples

THE NINE KATYAYANIS

On the outer wall of the circular enclosure, nine Katyayanis are established in nine niches. Their number gives them the name Nava Katyayani (The Nine Katyayanis). All the Katyayani figures are carved from a particular type of sandstone with a light yellow tinge.

Arranged clockwise from Katyayani No. 1 to Katyayani No. 9, their height varies from two feet six inches to two feet eleven inches. Most are two-armed female figures standing on severed human heads.

64 YOGINIS

On the inner side of the temple, sixty Yoginis are housed in the niches of the circular enclosure. Carved from black chlorite stone, all are in a standing posture upon their respective mounts (vahanas).

In addition to these sixty, three more Yoginis are housed in the pillars of the Chandi Mandap or Yogini Mandap. Notably, Yogini No. 61 is missing. The presiding deity of the shrine, Yogini Mohamaya, is depicted with ten arms. Of the other figures, 19 Yoginis are four-armed and 43 are two-armed. Some Yoginis have human faces, while others have the faces of birds and animals.

The Yoginis are exquisitely carved, bearing the hallmark of Odishan architecture. Most are sculpted with languid, expressive faces. Unfortunately, many of the figures are broken and appear disfigured, likely due to iconoclastic attacks.

01. Maya / Bahurupa / Chandika

This four-armed Yogini stands in a tribhanga pose upon a corpse lying straight. She wears a braid or chignon on her head. She is adorned with ornaments including armlets, anklets, a girdle, a necklace, and kundala (ear ornaments). These ornaments are common to most of the Yoginis, with only minor variations in some cases.

02. Tara

This two-armed Yogini is mounted on a corpse in a bent-knee pose. Her hair is arranged in a braid to the left, a style known as kesabandha. She wears various head and body ornaments similar to those of Yogini Maya.

03. Narmada

This two-armed Yogini stands upon an elephant. She wears a garland of skulls (mundamala) and various other ornaments. Her hair is braided to the right. She holds a skull-cup (kapala) near her mouth, suggesting she is drinking blood.

04. Yamuna

This four-armed Yogini stands in the pratyalidha pose upon a large tortoise. Her curling hair is raised over her head in a style known as jatamandala. A skull-cup (kapala) is held in her upper right hand.

05. Shanti / Kanti / Laxmi / Manada

This two-armed Yogini stands upon a full-blown lotus, with a braid of hair over her head. Her ornaments are similar to those of Yogini Maya, including naga keyura (armlets made of serpent bands). She is distinguished by a skirt made of peacock feathers.

06. Vriddhi / Kriya / Varuni

This two-armed Yogini stands in a samabhanga pose. Her hair is braided to the left. The pedestal features lines of waves, suggesting an aquatic association. She is adorned with various ornaments on her head and body.

07. Ajita / Gauri / Ksemankari

This four-armed Yogini stands in a samabhanga pose upon an alligator. Her hair is arranged in a braid or chignon on top of her head. She is adorned with a variety of ornaments, including a girdle, necklace, armlets, anklets, and elaborate headpieces.

08. Aindri / Indrani

This two-armed Yogini is mounted on an elephant and stands in the pratyalidha pose. Her hair is arranged in a braid or chignon on top of her head. She is adorned with various ornaments on her head and body.

09. Varahi

This four-armed Yogini has the face of a boar and is mounted on a buffalo. Her ornaments are similar to those of Yogini No. 1, including a mukuta (crown) or kirita (headdress). She holds a skull-cup and a bow.

10. Ranavira / Padmavati

This two-armed Yogini has a fierce countenance and stands upon the hood and body of a serpent. Her hair is braided over her head. She is adorned with a garland of skulls (mundamala) and an alaka (a type of head ornament). In her right hand, she holds a khadga (sword).

11. Vanarmukhi / Murati / Ostragreva

This four-armed, monkey-faced Yogini stands in a dvibhanga pose. Her mount, a camel with a curling long neck, is depicted on the pedestal.

12. Vaishnavi

This two-armed Yogini has a graceful face and curling hair arranged in a sarpa-mukuta (a serpent crown). She wears the usual ornaments. Her identity as Vaishnavi is established by Garuda, who serves as her mount.

13. Virupa / Kalaratri / Panchavarahi

This two-armed Yogini is a graceful figure standing in a tribhanga pose with a smiling face. Her hair is arranged in a beautiful braid over her head. A boar serves as her mount.

14. Vadyaroopa

This two-armed Yogini stands in a dvibhanga pose upon a drum, with a braid of hair over her head.

15. Charchika

This two-armed Yogini stands in a tribhanga pose upon a male figure. The male figure has curling hair and holds the stem of a lotus in his right hand. A katari (dagger) is visible at the waist of the leaning male figure.

16. Marjari / Betali

This four-armed Yogini stands in a samabhanga pose, mounted on a fish. Her hair is arranged in a braid over her head. She wears a garland of skulls (mundamala) and other ornaments similar to those of Yogini No. 1 (Maya).

17. Chinnamastaka

This four-armed Yogini stands in a dvibhanga pose upon a severed head. Her hair is arranged in a braid or chignon on top of her head. She holds a bow in her lower left hand.

18. Vrisabhanana / Bindhya Basini

This two-armed Yogini has the fierce-looking head of a buffalo, with disheveled hair arranged as a jatamandala. Her mount is a unique structure resembling a flat-roofed house or cave with a hole in its center.

19. Jalakamini

This two-armed Yogini stands in a tribhanga pose, mounted on a large frog. Her hair is styled in a beautiful braid (kesa-bandha) on the right side of her head. Her waist ornaments and clothing are highly decorative.

20. Ghatavara

This two-armed Yogini presents a terrific form, mounted on a lion and holding an elephant hide aloft over her head. She is captured in a dynamic dance pose.

21. Vikarali / Kakarali

This two-armed Yogini is a graceful figure mounted on a dog. Her hair is braided (kesa-bandha) to the right. In a unique pose, she holds her right foot with both hands, placing it over her left thigh, as if adjusting her anklets.

22. Saraswati

This four-armed Yogini stands upon a large serpent. A Tumuru (a stringed musical instrument) hangs from her shoulder. Uniquely, she is depicted with a moustache, which she is seen twisting. Her hair is arranged in a braid over her head.

23. Birupa

This two-armed Yogini stands in a dvibhanga pose. Her hair is arranged in a braid over her head. The pedestal features lines of waves, upon which she is positioned.

24. Kauveri

This two-armed Yogini is captured in a dance pose, standing upon a full-blown lotus. The lotus itself supports seven ratna kalasas (pots of jewels) or ratnanidhis (treasures). Her hair is braided (kesa-bandha) to the right and adorned with a mukuta (crown) or kirita (headdress). In addition to the usual ornaments, she wears a bejeweled girdle.

25. Bhalluka

This two-armed Yogini has the face of a boar, with her hair arranged in a raised jata-mandala. A padma lata (lotus creeper) is depicted on the pedestal. She wears various ornaments and holds a damru (a small drum) in her right hand.

26. Narasimhi / Simhamukhi

This four-armed Yogini has the face of a lion, with a mane of raised, curling hair styled as a jatamandala. She holds a pot-like vessel in her lower hands. The pedestal is decorated with five flowers and their leaves.

27. Biraja

This two-armed Yogini is a graceful figure standing in a dvibhanga pose. She is mounted on a lotus bud with leaves. Her hair is braided to the right.

28. Vikatanana

This two-armed Yogini is a furious figure with protruding lips. Her curling, matted hair is arranged over her head in a sarpa-mukuta (serpent crown) style.

29. Mahalaxmi

This two-armed Yogini is a beautiful figure mounted on a full-blown lotus. Her hair is braided (kesa-bandha) on her right side. She wears a garland of snakes (sarpamala) and holds a vajra (thunderbolt) and a shield in her hands.

30. Kaumari

This two-armed Yogini is a graceful figure standing in a dvibhanga pose, mounted on a peacock. Her hair is braided (kesa-bandha) on her right side. An akshamala (rosary) is seen on her right arm. She wears the usual ornaments, including a necklace, girdle, and anklets. The shield in her left hand is broken.

31. Mahamaya

This ten-armed, graceful figure is slightly larger than the other Yoginis, signifying her status as the presiding deity of the shrine. She stands mounted on a full-blown lotus, with a squarish Shakti Peetha placed below her feet. Adorned with a mukuta and kirita, she also wears a beautiful necklace, a bejeweled girdle, anklets, and armlets.

The locals revere this Yogini as the primary goddess, referring to the temple as the Mahamaya Temple. The ancient tank to the south of the temple is known as the Mahamaya Puskarini.

32. Usa / Rati

This two-armed Yogini has a furious face and raised, curling hair styled as a jatamandala. She stands in a bent-knee pose. The pedestal features an archer holding a bow and arrow, with a quiver on his shoulder.

33. Karkari

This two-armed Yogini is a graceful figure standing in a tribhanga pose. Her mount is a crab. Her hair is braided (kesa-bandha) to the left, and she is adorned with head ornaments, ear ornaments, a girdle, and a necklace.

34. Sarpasha / Chittala

This four-armed Yogini has the face of a snake and is adorned with various ornaments. She stands in a dvibhanga pose. The pedestal is broken, so her mount is no longer visible.

35. Yosha / Yakshini

36. Aghora / Vaivasvati

This two-armed Yogini has a furious look with bulging eyes. She stands in a dvibhanga pose upon a horned, goat-like animal. Her hair is raised over her head.

37. Bhadrakali / Rudrakali

This two-armed Yogini stands in a sama-bhanga pose, mounted on a crow. Her braided hair resembles flames. She holds a sword in her right hand and wears intricately designed clothing.

38. Matangi / Ganeshani / Vainayaki

This two-armed Yogini has the face of an elephant and a potbelly. She is mounted on an ass, and her hair is arranged in a jata-juta (a knot of matted hair) or jatamukuta.

39. Bindhyabalini

This two-armed Yogini stands in a pratyalidha pose, mounted on a rat. Her hair is beautifully braided to the right. She holds a bow in her left hand, and her right hand appears to be drawing the string to dispense an arrow.

40. Abhaya / Veera Kumari

This four-armed Yogini is a beautiful figure, standing in a dynamic dance pose upon a scorpion. Her hair is arranged in a jatamukuta, and she is adorned with various ornaments. Her upper hands are raised in a graceful gesture.

41. Maheswari

This four-armed Yogini stands in a dvibhanga pose, mounted on a bull. Her hair is braided to the right in a style known as kesabandha, and she is adorned with various ornaments.

42. Kamakshi / Ambika

This four-armed Yogini is in a bent-knee pose, with her two lower hands resting on her knees. Her mount consists of two wheels, beneath which a mongoose is depicted. Her hair is braided to the right (kesa-bandha), and she holds a damru in her upper right hand.

43. Kamayani

This two-armed Yogini stands in a dvibhanga pose. A cock is depicted in her pedestal. Her hair is braided to the right (kesa-bandha), and she is adorned with various ornaments.

44. Ghatabari

This two-armed Yogini stands in a dvibhanga pose, mounted on a lion. Her curling hair is arranged in a karanda-mukuta, and she is adorned with various ornaments.

45. Stutee

This four-armed Yogini stands in a samabhanga pose, mounted on a haladi kathua (a pot for turmeric paste). A flower vase is also depicted on the pedestal. Her hair is braided to the right and adorned with a flower garland and a mukuta, and she wears various other ornaments.

46. Kali

This two-armed Yogini stands in a dvibhanga pose upon a male body identified as Lord Shiva, who is depicted with a mukuta, kirita, and a third eye. She holds a trident, and her hair is arranged in a braid.

47. Uma

This four-armed Yogini is a graceful figure whose mount is a lotus flower. Her hair is styled with a mukuta and kirita, or as a jata-mukuta. In her hands, she holds a naga-pasha (serpent noose) in her upper left, while her lower left hand is in abhaya mudra.

48. Narayani

This two-armed Yogini is a graceful figure. She rests her left hand upon a madya bhanda (wine keg) and holds a sword in her right hand. Her hair is styled in a kesa-bandha and adorned with a tiara, and she wears various ornaments. An earthen pot with a conical lid is depicted in the pedestal.

49. Samudra

This two-armed Yogini stands in a dvibhanga pose. Her mount is a conch shell with two legs, depicted on the pedestal. Her hair is braided to the left, and she wears a tiara and various other ornaments.

50. Brahmani

This Yogini is a four-armed, three-faced figure. Her hair is arranged with a kirita and mukuta, or as a jata-mukuta, and she is adorned with a sacred thread and various ornaments. Her mount is a book. At the left end of the pedestal, a decorative lion is carved, holding beads in its mouth.

51. Jwalamukhi

This two-armed Yogini stands in a dvibhanga pose upon a platform with eight legs. She has long, raised ears, and two long knots of matted hair hang on either side of her head.

52. Agneyi

This two-armed Yogini is mounted on a ram. She holds a sword in her raised right hand and is adorned with various ornaments. She is depicted surrounded by flames.

53. Aditi

This two-armed Yogini stands in a samabhanga pose. A parrot is depicted on the pedestal, serving as her mount or vahana. Her hair is arranged in a braid or chignon on top of her head.

54. Chandrakanti

This two-armed Yogini stands in a dvibhanga pose upon a wooden cot with four legs. Her hair is braided (kesa-bandha) to the right, and she is adorned with various ornaments.

55. Vayubega

This two-armed Yogini is a graceful figure standing in a dvibhanga pose. Her mount is a female yak, depicted on the pedestal. She wears a beautiful braid or chignon over her head and is adorned with various ornaments.

56. Chamunda

This four-armed Yogini presents an awe-inspiring, skeletal form with lean, dangling breasts. She stands in a dynamic tribhanga dancing pose upon a musk deer, her mount. Her hair is raised over her head, and she wears a garland of skulls. With her upper two hands, she holds a lion hide aloft; her lower hands hold a katari (dagger) and a severed human head.

57. Murati

This two-armed Yogini stands in a tribhanga pose, mounted on a horned deer. Her braided hair rises over her head like flames. She is adorned with various ornaments.

58. Ganga

This four-armed Yogini stands in a tribhanga pose upon a makara. Her hair is arranged in a braid or chignon on top of her head, and she is adorned with various ornaments. In her hands, she holds the stem of a full-blown lotus in her upper right hand and a naga-pasha (serpent noose) in her lower left.

59. Dhumavati / Tarini

This two-armed Yogini stands in a samabhanga pose, mounted on a duck. Her hair is arranged in a braid over her head. She holds a winnowing fan in both hands.

60. Gandhari

This two-armed Yogini stands in a samabhanga pose, mounted on a horse. Her hair is braided to the left. A kadamba tree is depicted in the background.

61. Sarva Mangala

The niche for this Yogini is empty, and it is believed the figure of Sarva Mangala was once housed here. Some suggest that the image was removed to Yamuna Kuda, a nearby location on the river Kuakhai. However, an iconographic study of the image at Yamuna Kuda does not support this claim.

62. Ajita

This four-armed Yogini stands in a dynamic tribhanga pose, resembling a dancing posture. Her braided hair rises over her head like flames. A stag is depicted on the pedestal as her mount.

63. Surya Putri

This four-armed Yogini is a graceful figure, mounted on a galloping horse. She wears a kirita on her head and various body ornaments. She holds a bow and arrow, and is depicted in the act of plucking an arrow from the quiver.

64. Vayu Veena

This two-armed Yogini is captured in a dancing pose. Her hair is braided to the right, and she is adorned with various ornaments, including intricate earrings known as kapa. The pedestal features a black buck and two flower vases.

FOUR BHAIRAVS

The remaining four niches in the central chandi mandapa house Bhairavas. Three of them are seated, the only standing one has just one leg and is known as Ekapada Bhairava.

BHAIRAV NO. 1

Ekapada Bhairav / Ajaikapada Bhairav

This form of Bhairava is housed in the niche of the south-east corner pillar. He is known as Ekapada or Ajaikapada Bhairav because he stands on a single leg. He is depicted as urdhvalinga (with an erect penis). He stands mounted on a full-blown lotus, wearing a kirita on his head, a garland of skulls, and sarpa valaya and sarpa keyura (snake bracelets and anklets).

In his hands, he holds a khadga (sword), a shield, and the backbone of a fish. A halo is visible around his head. Two attendants, armed with a sword and shield, are depicted on the pedestal.

BHAIRAV NO. 2

The Ten-Armed Male Deity

This ten-armed male deity sits in a vishwapadmasana pose and is depicted as urdhvalinga (with an erect penis). He holds an akshyamala (rosary), a skull-cup (kapala), and a drum (damaru). He wears a kirita (crown), and a halo surrounds his head.

The pedestal features armed female attendants holding conch shells and skull-cups. Above the halo, two flying damsels (celestial maidens) are depicted.

BHAIRAV NO. 3

This ten-armed deity sits in a vishwapadmasana pose and is depicted with a raised penis (urdhvalinga). Adorned with a kirita and various body ornaments, a halo radiates behind his head, above which two flying damsels (celestial maidens) are visible.

In his hands, he holds a damru (drum), trisula (trident), a shield, and an akshyamala (rosary). The pedestal features female attendants with terrific faces, holding skull-cups.

BHAIRAV NO. 4

This ten-armed deity is depicted sitting in a vishwapadmasana pose with an erect penis (urdhvalinga). A halo appears behind his head, surmounted by two flying damsels (celestial maidens). He holds a damru (drum) and an akshyamala (rosary) among other attributes.

The pedestal features a male figure lying down, upon whose palm the deity's right foot rests. A female attendant, holding a sword and a skull-cup, is also present.

All Pictures Taken @ Chausathi Yogini Temple
Google Location- maps.app.goo.gl/HxTptXW9aeVqyRpB8

Reference Books-

'Sixty Four Yogini Temple Hirapur' by Suresh Balabantaray

'Yogini Cult And Temples' by Vidya Dehejia

'Tantra and Sakta Art of Orissa (3 Vols. Set)' by Thomas E Donaldson

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