The Mahavidyas (Great Revelations) is a group of ten goddesses worshipped in the Hindu tradition, who are believed to be different manifestations of the Mahadevi (Great Goddess). To Hindus the Mahadevi is a transcendent female reality who, much like Visnu, is believed to maintain the cosmic order (Kinsley 1986:161). The Mahavidyas are first discussed around the 10th century CE in the Mahabhagavata Purana. In this narrative the goddess Durga, in the form of Sati, weds the god Siva. Siva insists that Sati should not attend her father’s yajna (sacrifice) because they were intentionally not invited. However, Sati is adamant about disrupting the sacrifice and in a state of anger she transforms herself into ten transcendent forms, the Mahavidyas: Kali, Tara, Tripura-sundari, Bhuvanesvari, Chinnamasta, Bhairavi, Dhumavati, Bagalamukhi, Matangi, and Kamala. [Refer to Kinsley 1998 for individual descriptions of each Mahavidya]. Siva is so frightened when he is surrounded by the Mahavidyas that he gives Sati permission to attend the yajna (Benard 2). This is the most prevalent Mahavidya creation story, but there are multiple alternative versions that depict the goddesses as being forms of Parvati, Kali, or Sataksi (Kinsley 1998:22).

The Mahavidyas appear in tantric and puranic Hindu texts. The tantric texts focus on the rituals involved in worshipping the goddesses, while late puranic texts contain detailed stories describing the origins of the Mahavidyas. They are also mentioned in certain goddess hymns, such as the Durga-calisa, a popular forty-verse hymn dedicated to the goddess Durga (Kinsley 1998:15). The Mahavidyas are sometimes likened to the ten avataras (incarnations) of Visnu, who play a positive role in the cosmos. However, in the Hindu literature, focus is placed on the group’s diversity of form rather than their contributions towards maintaining the cosmic order through their actions (Kinsley 1998:21). The Mahavidyas appear most often in painted depictions in temples, although sometimes they may be shown in stone or metal carvings. They appear in temples where the primary goddess is one of the Mahavidyas, as well as in temples where the primary goddess is not one of the ten goddesses (Kinsley 1998:15).

Chinnamasta, literally meaning “the severed head” (Benard 4), distinguishes herself from the other Mahavidyas with her shocking, dramatic, and gruesome iconography. This goddess is depicted as self-decapitated and standing in an aggressive manner as she holds her severed head on a platter in her left hand and her kartr (sword) in her right hand. Three streams of blood gush from Chinnamasta’s neck and are drunk by her own head and two yoginis (female practitioners of yoga), Varnini and Dakini. All three of them are nude, with unkempt hair, and wearing garlands of skulls. Chinnamasta is sometimes shown standing upon Kama (the god of sexual desire) and his wife Rati, who are copulating on a lotus or cremation pyre (Kinsley 1986:173 and Kinsley 1998:144). Chinnamasta also appears in tantric Buddhism. She goes by the name of Chinnamunda, a form of Vajrayogini. Scholars believe she first appeared in Buddhism before entering the Hindu tradition. The iconography of this goddess in Buddhism is very similar, except she is not depicted as standing on top of a copulating couple (Kinsley 1988:161).

The Ten Mahavidyas (Marble image of the goddess Chinnamasta at a Tantric shrine in Ramnagar, near Banaras)

The most popular account of Chinnamasta’s origin appears in the Pranatosini-tantra. It states that the goddess Parvati, Siva’s wife, goes bathing with her two attendants, Dakini and Varnini. The two women are hungry and ask Parvati for food. She tells them to wait and they can eat once they are home. However, after further begging from her companions, the merciful goddess and Mother of the Universe, severs her head with her fingernails and her blood nourishes her attendants. Following this event, Parvati is henceforth known as Chinnamasta (Kinsley 1998:147). This origin story emphasizes maternal self-sacrifice in order to satiate her companions. Scholars note the interesting choice of blood instead of maternal milk for nutrients. The nourishment symbolizes renewal of the universe (Kinsley 1998:150).

These themes, along with others, are also apparent in the imagery of this goddess. Chinnamasta depicts the way that life, sex, and death are intricately intertwined. Her image juxtaposes gruesomeness (a bloody decapitation) and intimacy (the couple engaging in sexual union). Kama and Rati provide Chinnamasta with a vital energy that she then transfers to the yoginis to provide nourishment and sustainment. Scholars interpret this as showing the necessity of death in order to renew and replenish the cycle of life (Kinsley 1986:173). Chinnamasta’s image shows giving and taking, creation and destruction, and life and death. The distinction between receiver and giver vanish (Oestigaard 104). Her image depicts the cyclical nature of the universe and the harmony of seemingly opposite forces that are required to maintain the cosmic balance (Kinsley 1986:175). Normally the nudity and disheveled hair associated with Chinnamasta’s image would indicate a loss of public respectability, but instead these characteristics reveal her sense of freedom and abandonment of societal values (Benard 107).

The decapitated head is essential to all depictions of Chinnamasta, as indicated by the literal translation of her name. The way that Chinnamasta offers her head on a platter is similar to the way that animal sacrifices are carried out in the Hindu tradition. Sacrifices portray devotion and nourishment for a particular god or goddess. In Chinnamasta’s case, her self-sacrifice provides nourishment for her two devotees (Kinsley 1998:151). The severing of the head also represents disposing of the belief in a permanent, material self (Benard 96).

Like Chinnamasta and her two female companions, a number of Mahavidyas wear garlands made of severed heads or skulls. These are thought to represent letters or sounds, especially when presented in numbers of fifty or fifty-two. They are believed to give birth to all creation. In this way, the heads are objects of power, since they hold a person’s identity and essential being (Kinsley 1998:153). The importance of the head in Hinduism is illustrated in the Purusa creation story. Many important elements originate from Purusa’s head, including the Brahmin class, Indra, Agni, the sun, and the moon (Benard 93).

Chinnamasta’s location on top of a copulating couple is interpreted in two opposing ways. The first, and most common, interpretation of Chinnamasta’s superior position is that she has overcome her sexual and selfish desires. She is believed to display the yogic virtue of self-control. This interpretation is supported by the goddess’s hundred-name hymn in the Sakta Pramoda that refers to her as Yogini (female yogi) and Madanatura (she who cannot be overcome by Kama) (Kinsley 1998:154). The alternative explanation suggests that the sexual energy of the couple is being transferred to Chinnamasta. Supporters of this theory point to images of Chinnamasta sitting, instead of standing, on the couple. This physical position does not suggest overpowering of the couple’s sexuality (Kinsley 1998:155-156).

Public and private worship of Chinnamasta is not popular due to her aggressive nature and worshipping her is viewed as dangerous. It is said that those who worship her are of three types: yogis, world renouncers, or heroic in nature (Kinsley 1998:164). Tantric practices allow a practitioner to develop siddhis (supernormal powers) and achieve the ultimate goal of liberation. The Sakta Pramoda, Tantrasara, and Sri Chinnamasta Nityarcana outline the worship rituals for Chinnamasta. There are nine sections of practice prescribed by the Sakta Pramoda including visualized meditation, drawing of the yantra (sacred diagram), and explication of the mantra (sacred utterance). [Benard 1994 can be consulted for further details on these nine areas of practice]. Recitation of Chinnamasta’s 108 names is also included in her worship rituals (Benard 24). Not surprisingly, the majority of her names are fierce sounding. For example, she is referred to as Mahabhima (great terrible one), Candamata (mother of fierce beings), Krodhini (wrathful one), and Kopatura (afflicted with rage) (Kinsley 1998:164). Chinnamasta is one of two Mahavidyas who can only be worshipped using the left-handed path, the other goddess being Bhairavi. This type of worship can be extreme, involving sexual intercourse outside of one’s marriage and nighttime sacrifices involving meat and wine. This contrasts with the other Mahavidyas who can be worshipped by either the right-handed path or both paths (Kinsley 1998:166).

There are no known festivals devoted to Chinnamasta, but the Mahavidyas are worshipped as a group during important goddess festivals including Durga Puja and Kali Puja (Saxena 65). During these festivals the Mahavidyas are included on the tableau of the feature goddess (Kinsley 1998:18). There are only a few temples devoted exclusively to Chinnamasta, most likely a reflection of her limited following. These temples are found in northern and eastern regions of India and in the Kathmandu Valley in Nepal. An important temple is located in Cintapurni in the northern state of Himachal Pradesh. Although the temple is simply known as the Cintapurni Temple, paintings of Chinnamasta and her two attendants mark the entrance, along with a label that states Chinnamastaka Mandir. Inside the temple a stone pindi, an aniconic representation of the goddess, covered with a red cloth comprises the shrine’s central figure. Another important Chinnamasta temple is located by Rajrappa Falls in Bihar, another northern state of India. The temple holds a stone depiction of the beheaded goddess bearing her head in one hand and a sword in the other. Devotees in the area believe that Chinnamasta was cut into twelve pieces during a fight with an asura (demon) and that the temple marks the spot where her head landed (Benard 145-146).

Chinnamasta is a very distinctive Hindu tantric goddess and is easily recognized by most Hindus because of her dramatic iconography (Kinsley 1986:177). This goddess represents cyclical renewal, cosmic balance, nourishment, and self-control. Despite these positive characteristics, her influence in the Hindu tradition remains small due to her fierce essence and more extreme worship rituals. This restriction is reflected in the small number of Chinnamasta worshippers, festivals, and temples limited to northern India and its surrounding areas.




 Benard, Elisabeth Anne (1994) Chinnamasta: The Aweful Buddhist and Hindu Tantric Goddess. Delhi: Motilal Banarsidass.

Kinsley, David (1986) Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Tradition. Berkeley: University of California Press.

Kinsley, David (1998) Tantric Visions of the Divine Feminine: The Ten Mahavidyas. Delhi: Motilal Banarsidass.

Oestigaard, Terje (2006) “Heavens, Havens and Hells of Water: Life and Death in Society and Religion.” In Water: Histories, Cultures, Ecologies. Marnie Leybourne and Andrea Gaynor (eds.). Perth: University of Western Australia Press. pp. 94-105.

Saxena, Neela Bhattacharya (2011) “Mystery, Wonder, and Knowledge in the Triadic Figure of Mahavidya Chinnamasta: A Sakta Woman’s Reading.” In Woman and Goddess in Hinduism: Reinterpretations and Re-envisionings. Tracy Pintchman and Rita D. Sherma (eds.). New York: Palgrave Macmillan. pp. 61-75.


Related Topics for Further Investigation


Mahabhagavata Purana



Sakta Pramoda

Durga Puja

Kali Puja

Cintapurni Temple


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Article written by Lauren Hall (March 2013) who is solely responsible for its content.