1

Orissa Review

October - 2010

The tradition of tantra in Indiais very ancient. Historians failto determine exactly when itbegan. However, the majorityof Scholars and Researchersagree that tantrism flourishedat some point of time between5th and 6th century1. We getample references to tantrismin the ancient Vedic literature.In course of time we findevidence of the application oftantra in Hinduism, Buddhismand Jainism. The latterBuddhism is popularly knownas Tantric Buddhism2. Itflourished between 8th and 12th

century A.D.3 Historians argueout that owing to the favourableattitude and circumstances of

Buddhism, Tantrism couldflourish luxuriously. Tantrismbecame almost an inseparablepart of Buddhism right from thetime of Nagarjuna, one of thecelebrated Buddhist monks4. Inthe mainstream of Indianreligious practice we notice twocourses; one Vaidic, the otherTantric. As the trend of historyshows, tantrism gained itspopularity all across the Indiansub-continent during themedieval period and waspractised widely by the religiouspreachers of almost all faithsand creed.

Tantra or tantrism, aswe commonly perceive, refersto the Holy Scriptures relatingto Shaktism. This however is anarrow perception. In facttantra, as a concept andbranch of knowledge, is quitebroad and versatile. In itsbroader perspective tantrismrefers to the branch ofknowledge that protects andliberates its practitioners. As aWestern scholar Sir JohnWoodroff looks at it, tantra isthe holy Bible of the Hindus thatthey practise for the liberationof their souls5. Thus tantrismis not at all theoretical. Rather,it is a lively, vibrant branch ofknowledge that is practisedand applied directly in life. Inthis we find a very sophisticatedand exhaustive analysis ofhuman body system and the

practical ways to realizespiritual excellence. Tantrism,in other words, is the mostdirect, the surest and the safestpath to gain knowledge andachieve realization.

The other name oftantra is Agama. The branchof knowledge that is capable ofgiving both enjoyment anddetachment is Agama.Tantrism, however, is dividedinto three major streamsAgama, Nigama and Yamala.The one that comes directlyfrom the lips of Lord Shiva iscalled Agama; the one thatcomes from Shakti is calledNigama; the third one thatcomes neither from Lord Shivanor Shakti is called Yamala.Though Yamala comes neitherfrom Lord Shiva nor Shakti,still it has its intimate links withboth. As a matter of fact, thereis not much of differencebetween Agama and Nigama.Agama is further divided intotwo sub-branches Sadagamaand Asadagama.

The Sadagama creedprescribes in all details therituals and the code ofconduct for the follower orpractit ioner. Whereas,Asadagama is relatively moreflexible and accommodative.However, tantra is a muchbroader field of knowledge thatincludes medicine, philosophy,

Shaktism:Tantra andMantra in

SaralaMahabharata

Dr. Satyabrata Das

Dr. U. N. Sahoo

2

Orissa Review

October - 2010

chemistry, astrology, mantra,yantra and yoga.

It is fascinating to notethat both tantrism and theVedas are very intimatelyrelated. Often their relationshipis compared with Jeevatmaand Paramatma.

The tradit ion oftantrism in Orissa is veryancient. Since as early as thethird and the second centuryB.C. tantrism has been therein the ancient Kalinga, themodern Orissa. Different kingsand rulers patronized tantrismand helped promote this sect.Especially during the tenure ofthe Bhaumakara dynasty it gota lot of attention and patronageand reached the pinnacle of itsglory. Evidences are galore thatin the ancient Kalinga therewere a great many tantraSadhakas who could dospectacular things that amazedthe kings and rulers. And in turnthey gained the royalconfidence and support. Thattook them a long way inconsolidating their position andpopularity.

Since the historicinvasion of emperor Ashoka,ancient Kalinga has been thenourishing ground ofBuddhism. The two sects ofBuddhism (Sahaja Yana andVajra Yana), those wereheavily influenced by tantrism,

flourished in ancient Kalinga.In course of time Saivism,Vaishnavism and Shaktism allfused themselves with theBuddhist Sahaja Yana andVajra Yana and created awonderful integration. We mayrecall how the celebratedBuddhist monk Nagarjuna hadmastered the Mayura Vidyaand popularized his own creed

Sunya Vada during 6 th

century A.D. In the 7th Centurythree great Buddhist scholars(Manjushree, Budhisree andChandragami) popularizedthe Buddhist Nagantakaphilosophy. This MayuraVidya was basically Tantric inits approach. Both theNagantaka and theYogantaka philosophy endedup in the Tantric activities liketarana and marana.

Sarala Mahabharata isindeed a treasure-trove oftantra. There are extensivediscussions on the variousaspects of tantrism in this greatepic. For example, Shatkarma(a tantric method capable ofachieving impossible things likegratifying the sensual desires,getting rid of the incurablediseases and protecting oneselfagainst natural disasters etc)has been mentioned widely inSarala Mahabharata. We mayrecall how Agnidev (the Godof Fire) was pleased withArjuna after the great

Khandava fire (in which theKhandava forest wascompletely destroyed) andtaught the latter a number oftantric techniques such asStambhana, Mohana,Basikarana, Uchattana etc.Similarly, Sarala mentions howMayavati, had mastered mostof these Tantric techniques suchas Stambhana, Mohana,Basikaran, Uchattana andGutika etc. Mayavati (themother of the Pradyumna), thewife of Kamadeva, as Saralamentions, offers princessSubhadra such Tantrictechniques like mantra Anjanaand Gutika that helps her winover Arjuna. In this contextSarala gives extensivereferences to mantra, tantraand yantra. At that point of timeit was a usual practice to resortto those techniques to win overa man or woman.

Sarala further mentionshow Kamaksya Devi knew allthose tantric techniques likeStambhana and Mohana etc.She could serve lakhs and lakhsof people by cooking only apot-full of rice. She was in factthe divine power who blessedall the tantric practitioners. Ina similar account Saralamentions how Krupi, the wifeof Dronacharya, could feedthousands of soldiers of the kingof Drupada. She too knew theTantric method. Sahadeva, one

3

Orissa Review

October - 2010

of the Pandava brothers, wasa veteran in the art ofStambhana, Mohana andAnjana. Sarala mentions howLord Shiva Himself wasseduced by a demoness(Hiranyaksi). He forgot hiswife Parvati (temporarilythough) and enjoyed thedemoness Hiranyaksi.

Sarala Dasa alsomentions about variousmantras those are effective inrealizing various worldlyambitions and desires. Forexample, Gorekhanath hadoffered stambhana mantra toNakula. Lord Shiva had alsoblessed Nakula with themantra to restrain himself fromsleep and sex. Sri Krsna, asSarala mentions, had given theUlluka mantra to thePandavas that could make theminvisible. It was a very effectivestrategy to evade enemies. Inanother episode we get theaccount of Sri Krsna whosustained injury on his fore-head as he was trying to sneakinto Sri Radha s chamber. Hebled profusely. Sri Brahmatouched the wound reciting theKataksya Mantra and SriKrsna got instant relief.Brahma gave Sri Krsna abalm that was charged withmantra. When the latterapplied that balm in his eyes Hecould even see clearly in thedark. Further, Brahma gave

Sri Krsna some dust chargedwith mantra that made all thecow-herd boys fall into deepsleep instantly. All thosemantras could makeimpossible possible. Theycould give super-naturalpowers to the mortals and cureincurable diseases.

Similarly, Arjun was anexpert in Garedi mantra. AsSarala Dasa mentions princeUttara Kumar was bitten by apoisonous Cobra while gettingthe arms out of the tree trunk.Arjun instantly cured him byreciting the Garedi mantra.Sarala ment ions howAswatthama was shootingpowerful arrows charged withsome intricate Mantras. Inanother situat ion Saralamentions how Agnidev (Godof Fire) was pleased with Arjunafter the latter set theKhandava Forest on fire andoffered him a Mantra that couldmultiply the arrows that Arjunshot at his enemies. In yetanother context Saralamentions how Mayavati gavesome Mantras (like anjana andgutika) to Subhadra thathelped her quench the sexpassion of Arjun. Here Saralahas mentioned about the mantrathat could open any locked-room. It is called Ulluka.

Similarly, when Bhimaadvanced to fight with king

Kamapala (of Kaunri) the latterrefrained himself from it at theinstruction of GoddessKamakshi. At another point itis mentioned that Bhairavi ofKamrup had offered a mantra(Called Kamyak) to Bhima towin the war and to keep thearmy well-fed only with ahandful of rice. GoddessKamakshi was pleased withBhima and taught him somemantra like Stambhana andUlluka to help and facilitate theRaja Suya Yanja organized bySri Ram at the end of theMahabharata war.

In yet another episodeSarala talks about princessBhanumati s knowledge of thescience of tantra that couldtake care of the hospitality ofall the aspiring princes in theSwayamvara ceremony. Itwas Bhanumati herself whooversaw the whole affair by herTantric power and everythingended in a grand manner.

Similarly, in the contextof the abduct ion ofKamadhenu by the AstavasusSarala talks of the Go Harana(abduction of cows) mantra. Inanother episode Saralamentions how lord Shivabrought king Drupada back tosenses (as he lays unconsciousafter doing penance for eighteenyears) by applying taranamantra. In yet another instance

4

Orissa Review

October - 2010

we see how Arjun could bringback to life the dead Kauravasoldiers with the Jeevanimantra.

Different Goddessesassociated with Tantra :

In the Puranic ageHinduism was divided into fivemainstreams. They wereShaivya, Vaishnava, Saura,Shakta and Ganapatya.Orissa was especiallydominated by the Shakta cult.As we notice in theMahabharata Sarala makeselaborate mention of andattaches great importance to thetantric power and shows greatreverence to the Goddessesassociated with it. It sends amessage loud and clear thatduring 15th century the Shaktacult had a very strong followingin Orissa. The presiding deityof Kamrup or Kamaksya isGoddess Kamaksya who isthe source of all tantric power.Interestingly, GoddessKamaksya was very popularin Orissa during 15th century.Sarala, in the Mahabharata,holds Goddess Kamaksya inthe highest esteem. The poetgives an elaborate account ofthis Goddess; how she takes ondifferent forms at different hourof the day and night. In themorning she appears youthful,at noon she is old, in theevening she is passionate, and

at midnight she is Mohini(enchantress) and Chamunda.She is above time and shepossesses such mysteriouspowers as Stambhana,Mohana, Basikarana andMarana etc. The poet callsGoddess Kamaksya bydifferent names such asKatyayini, Aparna, Anadi,Anakara, Priya, Niranjani,Mahamaya and Maheswari.Goddess Kamaksya is aseffect ive and helpful inovercoming passions like sexand sleep as she is in fulfillinghigher wishes and ambitions.

Poet Sarala Dasavisualizes and portrays hissupreme deity, mother Sarala,as parama Vaishnavi,Vidyadatri, Palanakartri,Parama Maheswari andParvati. Just as the tenincarnations of Lord Vishnupoet Sarala Das imagines tenincarnations of mother Sarala.They are, Ketuka, Parvati,Uma, Himavanta Duhita,Krupajala Nandini,Narmada SaraswatiPushkara Kanya, SaralaSarva Mangala, Hingula andShiddha Sarala (the daughterof Kirata). As the tantricliterature has it, GoddessParvati (during the Yajna ofDaksya) created ten deadlyforms out of Herself andobstructed lord Shiva from allsides. Those deadly forms

were Kali, Tara,C h h i n n a m a s t a ,Bhubaneswari, Bagala,Dhumavati, Tripura Sundari,Matangi, Shodashi andBhairavi6. Sarala s uniqueconception of the tenincarnations of the Goddessis based on it.

Moreover, we get anaccount of the specific deitieswho offer specific protection7

in the Mahabharata. As Saralaputs it, Narayani in the warfield, Maheswari in water,Durga in the forest, Rudrayanifor fever, Brahmayeni forcough, Varahi for gastro,Kamakshi for sex,Pingalakshi for illness,Ugratara for dyspepsia,Bhairavai during child-birth(labour-pain),Tripura forbody-ache, Kalika foraccident, Mangala for safejourney, Hingula for cooking,Mahakhali Devi for eatingdelicious food, Varunai foragriculture, Hiranyai forhunting-expedition, Jagulai forsound-sleep, Arunangi forgood education, Vikhanda fornight-mare, Bhadrakali toappease the Grahas (Planets)and Sarva Mangala for allpurposes. Further, as SaralaDasa has portrayed the sevenmothers (Sapta Matruka);they are Maheswari, Varahi,Indrani, Chamunda,Vaishnavi, Bhairavi andKaumari.

5

Orissa Review

October - 2010

As the historicalrecords show the sixty-fourYoginis (Chaushathi Yoginis)were being worshipped inOrissa during 10th and 11th

century A.D.8 That strengthensthe fact that Shakta cult wasvery popular and powerfulduring this phase of Orissahistory. Sarala confirms thisbelief by elaborately describingthe details of the ChaushathiYoginis in the Mahabharata. Hegives an exhaustive account ofthose Goddesses who weremostly war-mongers and hadthe ghosts, spirits and vampiresunder their command. SaralaDasa, himself being a tantricyogi, had a first-handrealization of the beneficialaspects of tantra and thusgives a convincing andexhaustive account of thevarious aspects of this sciencein the Mahabharata. Hehighlights the knowledge andinsight one gets about theintricacies of human anatomyand body system from thetantric studies. He shows howthis helps bringing about abalance between body and

mind which ultimately facilitatesrealizing the God-head. InSarala s account there is,however, no reference to basesensual gratifications throughtantra. His version of the thenprevailing tantric tradition isessentially aesthet ic andelevated. All along theMahabharata we come acrossnothing repulsive or obnoxiousabout tantra as we noticeelsewhere. However, Saralaelevates the position of theGoddesses. We may refer tothe episode that depicts howmother Parvati could subduethe two demons which LordShiva Himself failed to do.Further, in Sarala s accountDraupadi has consistentlyreceived the highest status. Thecritics are unanimous on thepoint that Draupadi was thebest creation (of all thecharacters) of the poet. Shereceived the best of hisimaginative power and creativeenergy.

In the light of the abovereasoning and facts we mayconclude that tantric Buddhismhas been there in Orissa since

ancient times9. And SaralaDasa has taken the very essenceand the best of tantrism toenrich the epic. His magnumopus, the Mahabharata inOriya, is indeed a compendiumof that.

References :1. Cultural Heritage of

India.Vol.IV.pp.216.

2. Das Gupta, S. ObscureReligious Cults,1962.pp.14.

3. Ibid.pp.14.

4. Cultural Heritage of India.Vol.IV.pp.73.

5. Principles of Tantra.pp.33.

6. Sarala Mahabharata. VanaParva.Vol.I.pp.534.

7. Sarala Samikshya, pp.120.

8. Mishra Neelamani, BharatiyaTantra Shastra.pp.131.

9. Kar, Dr.Karunakar. AscharyaCharyachaya. pp.223.

Dr. Satyabrata Das is the Head,Dept. of English in Ekamra College,Bhubaneswar.

Dr. U. N. Sahoo is the Professor,P.G. Dept. of Oriya, Utkal University,Vani Vihar, Bhubaneswar.