Kâlî
Kâlî , the Noire is the Déesse destroying and creative mother of the Hindouisme. It is the wild aspect of the Devî, the supreme goddess, who is fundamental with all other Hindu deities. Kâlî is known Veda, contrary to Shiva. She is supposed being the seventh language of Agni, the god of fire (same the root as the Latin word ignis ).
The process of the re-creation is described like the “play of Kâlî”. Kâlî is regarded as the force which destroys the bad spirits and which protects the excessively pious people. It is the Parèdre of Shiva.
Its name derives from the word kala , the time in Sanskrit, that which destroys any thing; that which venerates it is released from the fear of the destruction. It is also the black female, contrary to her husband, Shiva, cover of ashes, which is white; it is its shakti, the energy without which the god is only one envelope empty.
Representation or Mûrti
It is represented naked, with the black skin, the wild glance and the drawn language, carrying a long collar, going down sometimes to its knees, composed of human craniums, dancing on the body of subjected Shiva, lengthened on the back.It often wears a formed loincloth of cut arms, holds a head decapitated in a hand, a sword, the capacity of the destruction, in the other. The Bhadrakali form has several pairs of arm. Its worship is especially developed in the Bengal, one finds a temple dedicated to Kâlî with Kolkata, where each day of the Chèvre S are sacrificed to him.
Others
The goddess Kali and analytical psychology
The goddess Kali, is within the framework of the analytical Psychologie, one of the prototypes present in the femininity of the man. The femininity of the man names the Anima.
She is the woman of sublimation.
Carl Gustav Jung, the founder of this approach, also in its writings was very inspired by the figure of the Kâlî goddess and the writings Indian. There exists a writing on the Kundalini and the yoga of Kundalini in Energies of the heart , Albin Michel,
The goddess historical Kali and annecdotes
Under the name of Chamunda, it was charged to kill the Asura Rakta-Vija (of rakta , blood) by drinking all its blood, because each drop fallen on the ground generated new ensured. She ends up consuming her flesh.
When it enters in fury, its dance puts the world in danger, also Shiva, interposes it between the feet of the goddess and the ground.
It is the guardian deity of the Thug S, the ritual assassins present at Bengal and in Orissa, at the 19th century that the Britanniques fought until making them disappear in the Années 1830. Perhaps the importance of the worship of Kâlî in the east of the India states that it finds its origin in a divinity of indigenous tribes , very many tribes in the area, which could be a reason of the color of its skin, its nudity and its barbarian aspect.
In the South of India exists the tradition of a contest of dance between Kâlî and Shiva Nataraja, the lord of the dance, the creator of the Bharata Natyam, the ballet dancing of the Tamil Nadu. Some see there the memory of a victory of the local shivaïtes on the excessively pious people of a local female divinity, Pidari perhaps.
The goddess Kali and toponymy
Kâlî gave its name to Calcutta via Kalikata, one of the three villages rented with the English Compagnie of the Eastern Indies, at the origin of the city. Out of India, one finds two temples dedicated to Kâlî with Singapore.
The goddess Kali and literature
The Kâlî goddess also seems protagonist of the Nouvelle “Kâli decapitated” of Marguerite Yourcenar (in the collection Eastern Nouvelles ).
At the 19th century, Kâlî was the main subject of the poems of Ramprasad SEN, always very popular today in India.
Internal bonds
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