| This is the first comprehensive study of Chinnamasta or Chinnamunda, a Buddhist and Hindu Tantric goddess. Hitherto this study, there are some articles on Chinnamasta or Chinnamunda but no one has examined her legends, origin, rituals, and iconography in an inclusive manner. In both Buddhism and Hinduism, Chinnamasta is the rare "severed-head" form of the popular goddess--Vajrayogini or Vajravarahi and Durga respectively. Since this form is worshipped primarily by Tantric practitioners, especially yogins, Chinnamasta is discussed seldom in public and oral or written commentary is scarce. Though public accessibility is limited, sadhanas or meditative ritual practice texts on Chinnamasta are found in north India, Nepal, and Tibet.;This study based on sadhanas and legends consider Chinnamasta's origin. Some scholars, such as S. Shankaranarayanan and S. Bhattacharji claim a Vedic antecedent; others, beginning with B. Bhattacharyya, assert a Buddhist origin. This study accepts a Buddhist origin with a tentative date of the ninth century C.E. Many of the Buddhist transmission lineages in the sadhanas begin with Mahasiddha Laksminkara (c. ninth century); the earliest Hindu date is 950 C.E. when the sakta Mahabhagavata Purana was written. Secondly, a substantial portion of the study presents Chinnamasta rituals from Hinduism and Buddhism. Moreover for the first time in English are complete translations of the Hindu "Chinnamasta Tantra" of the Sakta Pramoda, the Buddhist Chinnamunda Vajravarahi sadhana by Srimatidevi (Princess Laksminkara) and the Praises to Trikayavajrayogini/ by Siddhacarya Virupa. These primary texts help one to understand Chinnamasta's rituals and to compare the similiarities or differences between the two Tantric traditions.;The final aspect of the study interprets Chinnamasta's iconography from the perspective of both traditions. The symbolism includes every aspect of the deity--her abode, the deity, her ornaments, implements and attendants. Many of the interpretations indicate Tantric symbolism. For instance, Chinnamasta's abode is the navel cakra--the pivotal point for returning to or escaping from cyclic existence. Furthermore the configuration of the two attendants' bodies and Chinnamasta symbolize the three subtle channels (nadi/) at the navel cakra. The most salient feature is Chinnamasta's temporary decapitation. Various scholars offer interpretations ranging from sacrifice to castration. However this study demonstrates that temporary decapitation is a yogic or tantric technique of drawing the subtle winds (prana) into the central subtle channel. With this ability, a yogin or tantric practitioner eradicates apparent dualities, especially the seeming exclusiveness of life and death. This study concludes that Chinnamasta is foremost a Tantric deity because her legends, connections with Mahasiddhas, rituals and the interpretations of her iconography indicate this. Since she is a Tantric deity par excellence, one can learn much about the commonality and differences between the Buddhist and Hindu Tantric tradition by studying her. |
