Caṇḍī or Caṇḍikā is the name by which the Supremely divine is referred to in Devī Māhātmya. Chandi represents the killer of Chanda. Chanda and Munda were Ashur's strong army generals.[2][better source needed]Bhaskararaya, a leading authority on matters concerning Devi worship, defines Chandi as 'the angry, terrible or passionate one'.[3]
The designation of Chandi or Chandika is used twenty-nine times in the Devi Mahatmya, which is agreed by many scholars to have had originated in Bengal, the primary seat of the Shakta or Goddess tradition and tantric sadhana since ancient times. It is the most common epithet used for the Goddess. In Devi Mahatmya, Chandi, Chandika, Ambika and Durga have been used synonymously.[4][page needed]
It is also called Navarna Mantra or Navavarna Mantra. Besides the Sri Vidhya mantras, it is one of the principal mantras in Shakti worship. It is customary to chant this mantra when chanting the Devi Mahatmya. She is supposed to live in a place called Mahakal, which is close to Kailasa.[5]
Named after the goddess is the city of Chandigarh (literally: 'fort of Chandi'), the joint capital of the Indian states of Punjab and Haryana.
Legends
Chandika is an avatar of Durga. The three principal forms of Durga worshipped are Mahagauri, Chandika and Aparajita. Of these, Chandika has two forms called Chandi and Chamunda who is created by the goddess Kaushiki for killing demons Chanda and Munda.[1][6][better source needed]
She is known as the supreme goddess Mahishasuramardini or Durga who slayed the demon Mahishasura. She has been affiliated with and also considered as Katyayini, Kaushiki or Ambika who killed Shumbha, Nishumbha and their fellow demons.[7] "The great Goddess was born from the energies of the male divinities when the devas became impotent in the long-drawn-out battle with the asuras. All the energies of the Gods became united and became supernova, throwing out flames in all directions. Then that unique light, pervading the Three Worlds with its lustre, combined into one, and became a female form."[8][page needed]
"Devi projected overwhelming omnipotence. The three-eyed goddess was adorned with the crescent moon. Her multiple arms held auspicious weapons and emblems, jewels and ornaments, garments and utensils, garlands and rosaries of beads, all offered by the gods. With her golden body blazing with the splendour of a thousand suns, seated on her lion vehicle, Chandi is one of the most spectacular of all personifications of Cosmic energy."[9]
In other scriptures, Chandi is portrayed as "assisting" Kali in her battle with the demon Raktabīja. Chandi wounded him, but a new demon sprang up from every drop of his blood that fell on the ground. By drinking Raktabīja's blood before it could reach the ground, Kali enabled Chandi to first destroy the armies of demons and finally kill Raktabīja himself.[10] In Skanda Purana, this story is retold and another story of Mahakali killing demons Chanda and Munda is added.[11] Authors Chitralekha Singh and Prem Nath says, "Narada Purana describes the powerful forms of Lakshmi as Durga, Kali, Bhadrakali, Chandi, Maheshwari, Lakshmi, Vaishnavi and Andreye". Also, she is the one who purified Halahal (during Samudra Manthan) into Amrit (Ambrosio).[12]
Chandi Homa (Havan)
Chandi Homa is one of the most popular Homas in Hindu religion. It is performed across India during various festivals, especially during the Navaratri. Chandi Homa is performed by reciting verses from the Durga Sapthasathi and offering oblations into the sacrificial fire. It could also be accompanied by the Navakshari Mantra. Kumari Puja, Suvasini Puja also form a part of the ritual.[13][page needed]
Iconography
A Burmese portrayal of Chandi (Sandi Dewi).
The dhyana sloka preceding the Middle episode of Devi Mahatmya the iconographic details are given. The Goddess is described as having vermilion complexion, eighteen arms bearing string of beads, battle axe, mace, arrow, thunderbolt, lotus, bow, water-pot, cudgel, lance, sword, shield, conch, bell, wine-cup, trident, noose and the discus (sudarsana). She has a complexion of coral and is seated on a lotus.[14] In some temples the images of Maha Kali, Maha Lakshmi, and Maha Saraswati are kept separately. The Goddess is also portrayed as four armed in many temples.
In folklore of Bengal
Chandi is one of the most popular goddess in Bengal, and a number of poems and literary compositions in Bengali called Chandi Mangala Kavyas were written from 13th century to early 19th century.[15] These had the effect of merging the local folk and tribal goddesses with mainstream
Hinduism. The Mangal kavyas often associate Chandi with goddess Kali or Kalika[16] and recognise her as a consort of Shiva and mother of Ganesha and Kartikeya, which are characteristics of goddesses like Parvati and Durga.[17] The concept of Chandi as the supreme Goddess also underwent a change. The worship of the goddess became heterogeneous in nature.
Chandi is associated with good fortune. Her auspicious forms like Mangal Chandi, Sankat Mangal Chandi, Rana Chandi bestow joy, riches, children, good hunting and victory in battles while other forms like Olai Chandi cure diseases like cholera, plague and cattle diseases.[18]
These are almost all village and tribal Goddesses with the name of the village or tribe being added onto the name Chandi. The most important of these Goddesses is Mongol Chandi who is worshipped in the entire state and also in Assam. Here the word "Mongol" means auspicious or benign.[19]
Beane, Wendell Charles (1977). Myth, Cult and Symbols in Sakta Hinduism: a study of the Indian Mother Goddess. Leiden: E.J. Brill. ISBN978-90-04-04814-0. OCLC462282360.
Brown, Cheever Mackenzie (1990). The Triumph of the Goddess: The Canonical Models and Theological Visions of the Devī-Bhāgavata Purāṇa. Albany: State University of New York Press. ISBN978-0-585-07628-7. OCLC42855925.
Gopal, Madan (1990). India through the Ages. New Delhi: Ministry of Information and Broadcasting, Govt. of India. OCLC1157118397 – via Internet Archive.
Manna, Sibendu (1993). Mother Goddess Caṇḍī: Its Socio Ritual Impact on the Folk Life. Calcutta: Punthi Pustak. ISBN978-81-85094-60-1. OCLC29595373.
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