KṚṢṆAKĀLIKĀ

Namo Nārāyaṇa. The concept of Kṛṣṇakālī, although the tattva is anādi ananta, was introduced by Kṛṣṇānanda Āgamavāgiśa, popularized by Thākur Rāmakṛṣṇa Paramahaṁsa, and since then, the worship of Kṛṣṇakālī has become a prominent part of bengali culture. In the modern times, there are many temples dedicated to Kṛṣṇakālī, who is an absolutely beautiful and majestic unified form of Śyāma-Śyāmā. But how many of us really do know her śāstriya and tāttvika form that’s the prime source of her vigraha? Śāktas worship Kṛṣṇakālī with great pride, but worship alone is not enough, because the devī/devatā being worshipped must be mentioned in the śāstras in some form. Otherwise, the deity must be considered kālpanika (imaginary).

In this article, with the aśeṣa kṛpā of Gāyatrī, we will try to prove the scriptural mentions of Kṛṣṇakālī, as well as the abheda between Devī and Viṣṇu by compiling several śāstras.

Do understand though, that this post isn’t a sectarian post, it does not intend to spark debates between Śāktas and Vaiṣṇavas. The only target audience of this post is parabrahma, whom I worship through the śāstras. The purpose is not merely to prove Kṛṣṇakālī, but also to demonstrate that Umā and Nārāyaṇa are ultimately one, despite their apparent bheda in līlā. Therefore, if someone wishes to continue reading this post, they must be a bhakta who possess nirvikalpabuddhi and aśeṣa prema towards the śāstras and their teachings.

GAURĪNĀRĀYAṆA

On the right side of Rudra reside the Sūrya, Brahmā, and the three sacred fires — Dakṣiṇa, Gārhapatya, and Āhavanīya, and on the left side reside Umā, Viṣṇu, and Candramā as per Rudrahṛdayopaniṣad, 4. It is further stated that Umā is Viṣṇu, and Viṣṇu himself is Candramā.

The prajā (creation), movable and immovable are of the form of Umā and Rudra (two tattvas of parabrahma). Umā is that which is vyakta (manifest) and Rudra is that which is avyakta (unmanifest), and the union (yoga) of Umā and Rudra is Viṣṇu, therefore, the entire movable and immovable universe is Viṣṇu himself. जले विष्णु: स्थले विष्णुर्विष्णु: पर्वतमस्तके । ज्वालामालाकुले विष्णु: सर्वं विष्णुमयं जगत् ।। — As Gheraṇḍa Saṃhitā, 7.18 state, this whole universe consists of Viṣṇu, be it water, land, the top of the mountains, even the fire. Therefore, Viṣṇu is of the nature of both vyakta prakṛti and avyakta puruṣa.

अहमेव च सा गौरी गौर्यैवाहं महाफ़णिन्। उमाया यान्ति मद्भक्ता उमाभक्ताश्च् मे पदं।। — In a verse attributed to Padma Purāṇa, Bhagavān Śrī Hari states, “I myself am that Gaurī, and Gaurī indeed am I, o great serpent. Those who are devoted to Umā come to me, and the devotees of Umā attain my abode.”

Knowing this, with our hearts filled with bhakti, we should perform namaskāra.

Devyupaniṣad, 2 mentions Bhagavatī as prakṛti-puruṣātmaka brahman — मत्तः प्रकृतिपुरुषात्मकं जगच्छून्यं चाशून्यं च.

Rādhā Tantra 13.450 states that Kṛṣṇa is prakṛti-puruṣātmaka brahman.

In Brahmāṇḍa Purāṇa, Lalitopākhyāna, 5.19–21, Bhagavān Viṣṇu explicitly mentions that he is of the nature of pradhāna and puruṣa at the same time. Pradhāna tattva in it’s real sense is the unmanifested prakṛti, that manifest the 25 tattvas of saṃsāra upon it’s yoga with puruṣa, therefore, Bhagavatī is also called pradhāna in Śiva Purāṇa 2.1.6.20 — प्रधानं प्रकृति तां च मायां गुणवतीं पराम्.

ŚaktiSaṅgam Tantra, Chinnamastā Khaṇḍa, 9.13 states — The syllable “Rā” denotes Śakti, and “Ma” denotes Śiva. Their Śiva-Śaktyātmaka aikyam is expressed with the syllable “Rāma”, who is pūrṇabrahma. From this verse, it is clear as to how Rāma/Viṣṇu, who is prakṛti-puruṣātmaka brahman, is the aikya/yoga of Umā who is vyakta prakṛti/avyakta pradhāna & Śiva who is avyakta puruṣa — उमा शङ्करयोगो यः स योगो विष्णुरुच्यते ।.

In Muṇḍamālā Tantra, 1.7.77, Mā Pārvatī calls herself hariharātmikā vidyā. She is directly mentioned here as the aikya of Hari and Hara, just like how Viṣṇu is called the aikya of Umā and Śiva in Rudrahrdayopaniṣad, signifying that her tattva is ultimately the same as Viṣṇu.

If Viṣṇu is avyakta puruṣa, then how can he perform creation, preservation and destruction?

As revealed in Jñānārṇava Tantra, 4.18, it is through his śakti that he performs such activities, and it is through him that Ādiparāśakti plays her divine līlā. In Brahma Saṃhitā, 5.44, Bhagavatī Ādiparāśakti Durgā, for the creation, preservation and destruction, is said to follow the divine ājñā of Parabrahma Parameśvara Bhagavān Śrī Kṛṣṇa — सृष्टिस्थितिप्रलयसाधनशक्तिरेका छायेव यस्य भुवनानि बिभर्ति दुर्गा। इच्छानुरूपमपि यस्य च चेष्टते सा गोविन्दमादिपुरुष तमहं भजामि॥४४॥. In Brahmavaivarta Purāṇam, Prakṛti Khaṇḍa, 57.21, Bhagavatī Durgā is eulogized as Viṣṇuśakti — विष्णुभक्ता विष्णुरूपा विष्णोः शक्तिस्वरूपिणी ॥२१॥. Since she provides sāmarthya of creation, preservation and destruction to Viṣṇu, she is called Viṣṇuśakti. She is sarvathā svatantra, but provides Viṣṇu the icchāśakti aided with sāmarthya to create, preserve and destroy the jagat as per Ahirbudhnyasaṃhitā, 3.11 — विष्णोः सामर्थ्यरूपत्वाद् विष्णुशक्तिः प्रगीयते ।. Therefore, Devī, Viṣṇu and Rudra are always non-different as mentioned in Nīla Sarasvatī Tantra, 18.13 — देवीविष्णुशिवादीनामेकत्वं परिचिन्तयेत् ।

Nirvāṇa Tantra, 6.5–6 state — Mahāvidyā Bhadrakālī appears as Brahmā, Viṣṇu and Rudra and through their śakti (which is none other than her), she performs the act of creation, preservation and destruction simultaneously.

एकैव शक्तिः परमेश्वरस्य भिन्ना चतुर्धा विनियोगकाले (व्यवहारकाले)। भोगे भवानी पुरुषेषु विष्णुः कोपेषु काली समरेषु दुर्गा ॥ ५२॥ — Śrī Śivakāmasundarī Sahasranāmastotram, Uttarapīṭhikā, 52 of Bhṛṅgīriṭi Saṃhitā states, the śakti of Parameśvara is one alone, yet, at the time of its various functions, it becomes fourfold in manifestation. As Bhavānī in bhoga of the divine play of jagat, as Viṣṇu in male form, as Kālī in wrath, and as Durgā in battle.

Brahmāṇḍa Purāṇa, Lalitopākhyāna, 10.4–7 states that in order to protect the devas from the asuras and distribute the amṛta exclusively among the devas during the samudra-manthana, Bhagavān Viṣṇu, for the protection of dharma, meditated upon Lalitā, whose form was in union with his own, and assumed the Mohinī avatāra.

In Kūrma Purāṇa, 1.12.232, Himāvan eulogizes Bhagavatī Girijā as such — I bow to your form known as Nārāyaṇa, the Purāṇa Puruṣa, possessing a 1000 heads and a 1000 arms, endowed with infinite power, and reclining in the ocean of milk.

— — — — — — — — — — — — — — — — — — — — — — — — — — —

GOPĀLASUNDARĪ

Let us first understand Gopālasundarī, the abheda of Gopāla and Tripurasundarī.

Devī Bhāgavatam 9.38.29–31 states that Bhagavatī Parāśakti, the prakṛti puruṣātmaka brahman, who is nityarūpī, appeared as Krṣṇa at the very beginning of the creation, in order to bestow kṛpā on her bhaktas. That form of hers came to be known as गोपालसुन्दरी in the world.

In Padma Purāṇa, Pātāla Khaṇḍa, 75.44–45 as well, Bhagavatī states that she appeared in the form of Krṣṇa, holding the body of a puruṣa for the benefit of her devotees — अहंचललितादेवीपुंरूपाकृष्णविग्रहा.

This mention of Gopālasundarī is stated in several other śāstras as well, like ŚaktiSaṅgam Tantra, Chinnamastā Khaṇḍa, 9.2–3, which speaks of how once Lalitā took the form of Śrī Kṛṣṇa (Veṇu Vādaka) to enchant the three worlds. Bhagavatī Tāriṇī incarnating as Bhagavān Śrī Rāma at a certain time, for the purpose of slaying Rāvaṇa, for the establishment of the devas, and for the destruction of the asuras, is also mentioned here — कदाचिदाद्या श्रीतारा पुंरूपा रामविग्रहा ॥ ४ ॥ रावणस्य वधार्थाय देवानां स्थापनाय च । दैत्यसंहरणार्थाय रूपं संबिभ्रती परम् ॥ ५ ॥.

Āgama Rahasyam, 1.6.874–878 also states — At one time, Ādyā Lalitā, assuming a male form and taking on the body of Kṛṣṇa, brought the entire world under her control through her veṇu vādana. At another time, Ādyā Śrī Tārā, assuming a male form and taking on the body of Śrī Rāma, accomplished deeds such as subduing the ocean and spread her glory.

Śrīmad Bhāgavatam, 1.3.22 also states that Paramātmā Parameśvara Bhagavān Śrī Rāmacandra, in order to perform siddhi of devakāryas, showed his parākrama by controlling the ocean and then killing Rāvaṇa, who was on the other side of the ocean— नरदेवत्वमापन्न: सुरकार्यचिकीर्षया । समुद्रनिग्रहादीनि चक्रे वीर्याण्यत: परम् ॥ २२ ॥.

In Svarṇamālā Tantrokta Tārā śatanāmastotraṃ, 15, Bhagavatī Tāriṇī was eulogized to be of the form of Bhagavān Śrī Rāma, being his primordial śakti — रामरूपा रामशक्ती रामरूपानुकारिणी ॥.

Śrīvidyāratnākara (preface, page 8) states — At times, the devī Lalitā, having assumed the form of Śrī Kṛṣṇa, enchants the entire universe through the delight of the sound of the veṇu.

In Tantrarāja Tantram, 34.84, Śiva states that Mā Lalitātripurasundarī, in order to enchant the universe, took the male form as Kṛṣṇa, who was surrounded by the śaktis of Lalitā. This form was termed “Gopālasundarī.” Here, Kṛṣṇa assumed six forms — Siddhagopāla, Kāmarājagopāla, Manmathagopāla, Kaṇḍarpagopāla, Makaraketanagopāla, and Manobhavagopāla.

As per Nārada Purāṇa, 1.88.16, similar to Tantrarāja Tantram, 34.84, Mā Lalitātripurasundarī, in order to enchant the universe, took the male form as Kṛṣṇa and manifested 16 kalās having the same radiance as him.

गोपालसुन्दरीरूपः श्रीविद्यामन्त्रविग्रहः । रमाबीजसमारम्भो हृल्लेखासमलङ्कृतः ॥ —Śrī Guruvāyupureśvara Aṣṭottaraśatanāmastotraratnam, 20 attributed to Viṣṇuyāmala Tantram states, Bhagavān Guruvāyupureśvara is of the form of Gopālasundarī, the embodied form of the Śrīvidyā mantra; beginning with the bīja of Ramā, adorned with the Hṛllekhā.

In the name 267 of Lalitāsahasranāma, she is referred to as “गोविन्दरूपिणी”. Bhāskarārāya says that with the name Govinda-rūpīnī, Mā Lalitā is Viṣṇu; hence, we can find a similarity of this name with the incident of Samudra-manthana, where Bhagavān meditated upon his own form, i.e., Lalitā, and took the avatāra of Mohinī.

Nārada Purāṇa, 1.89.144 mentions her as “कृष्णरूपिणी” which is essentially the same — one who is of the form of Govinda/Kṛṣṇa, manifesting into the earth for the purpose of protection of dharma.

Kṛṣṇayāmala Tantra, 16.5–13 briefly describe how Bhagavān Śrī Kṛṣṇa manifested the form of Tripurasundarī of his own self — The compassionate parmeśvara, wishing to enchant even that which enchants others, held the muralī in his left hand and the vaṃśī in his right. Being himself the creator of the universe, he began to contemplate his own prakṛti, the cosmic power that manifests the world. At that moment, in order to bewilder Bhagavatī Bhuvaneśvarī, he assumed a female form. The auspicious vaṃśī became transformed into a bāṇa (arrow), while the muralī turned into a dhanuḥ (bow). Thus the instruments associated with music were symbolically converted into weapons, indicating a transformation of divine power. Bhagavatī Bhuvaneśvarī then beheld this form. She saw the supreme Bhagavān Śrī Kṛṣṇa appearing in feminine attire, possessing four arms. In the 2 upper hands he held a dhanuḥ (bow) and bāṇa (arrow), while in the 2 lower hands he held the pāśa and aṅkuśa, the noose and the goad. The form she beheld was that of the devādhi-deva, the Parameśvara: pure, smiling gently, unborn (aja), infinite (ananta), imperishable (avyaya), with eyes resembling lotus petals and clothed in yellow garments (pītāmbara). Just as Bhagavān Kṛṣṇa, whose essential nature is sat-cit-ānanda can assume the state of prakṛti, the divine speaker describes his own transformation. From the tribhaṅga posture of that supreme self a vast radiance appeared, shining like the sun. This immense mass of light spread everywhere and filled the entire universe, both sthāvara (immovable beings such as mountains and trees) and jaṅgama (moving beings such as animals and humans). From that very radiance there then arose a supremely beautiful feminine form. She is described as eternal (nityā), victorious over the three worlds (trailokya-vijayā), and the embodiment of eternal bliss (nityānanda-svarūpiṇī). This divine woman is ŚrīmatTripurasundarī, who emerged from the tribhaṅgapura of the supreme self.

Śrī Kṛṣṇakaraṇāmṛta, 3.104 imagines the svarūpa of Krṣṇa as Gopālasundarī. This dhyāna śloka somewhat resonates with the description of what’s stated in Kṛṣṇayāmala Tantra, 16.5–13, where, two hands hold the bow and arrow, two hands hold the noose and the goad whereas, two hands on the topmost areas hold the conch and shell that represent the iconography of Bhagavān Viṣṇu, and two hands hold the flute that denote the presence of Krṣṇa.

The tantrokta dhyāna of Gopālasundarī in Meru Tantra, 30.46–49 is as such — In the boundless kṣīrasamudra, upon a radiant śvetadvīpa (celestial abode of Mahāviṣṇu), within a celestial grove adorned with kalpavṛkṣas (wish-fulfilling trees), envision a resplendent golden pavilion, shimmering with countless jewels. Within that divya shrine, upon the sacred Śrīpīṭha, behold the enchanting form of Bhagavān Śrī Kṛṣṇa. Contemplate him: In his 4 right hands he bears an 8 petalled lotus, a conch, flower-arrows, and a vaṃśī whose melody captivates the 3 worlds. In his 4 left hands he holds a graceful bow, a noose, a goad, and a vīṇā, all adorned with celestial gems of incomparable brilliance. Clad in luminous yellow garments, his form shines with transcendent beauty. Encircled by hosts of devoted gopīs, he stands as the very embodiment of divine bliss, radiating charm, grace, and irresistible mādhurya that enchants all existence.

Mantramahodadhi, 12.166 adds that Gopālasundarī is adorned with the red hue all over his divine body — रक्तकान्ति & is praised by is praised by Brahmā and the other devas all around — ध्यायेद् गोपालमीशं विधिमुखविबुधैरीड्यमानं समन्तात्.

Śrī Rāmakaraṇāmṛta, 2.24 composed by Bhagavannāma Bodhendra reimagines the form of Gopālasundarī in the form of Rāma. He who bears the sugarcane bow, adorned with arrows of blossoming flowers. He who bears the discus, the lotus, the noose, the goad, and the flute in his sacred hands. He who, through his 8 divine hands upholds these divine emblems, and glows with the brilliance of the sun. I offer my reverent prostrations unto Śrī Rāma, who shines forth in the enchanting form of Śrī Kṛṣṇa.

Taking the above svarūpa into consideration, one can imagine the form of Rāmasundarī mentioned in Āgama Rahasyam, 2.3.415. Technically Rāmasundarī is a krama devatā and it might not have the same form as mentioned in Śrī Rāmakaraṇāmṛta. However, the presence of the name in the scripture proves that Bhagavatī Lalitā Tripurasundarī is non-different from Bhagavān Śrī Rāmacandra.

GOPĀLASUNDARĪ ABHEDA RAHASYA

There is an esoteric truth behind the abheda of Bhagavān Śrī Kṛṣṇa & Bhagavatī Śrī Lalitā Tripurasundarī that we will try to explain with a few śāstriya pakṣas.

Rādhā-Kṛṣṇa Gaṇoddeśa Dīpikā, 132 states — A garland of Śrī Kṛṣṇa made of various kinds of leaves and flowers, hanging down to his lotus feet, is called the vanamālā. And a garland made of 5 kinds of differently colored flowers is known as the vaijayantīmālā. As per Jīva Gosvāmī, the 5 colours of the vaijayantīmālā shine on Śrī Kṛṣṇa’s body like the 5 rasas: śānta (white), dāsya (multicoloured), sakhya (orange), vātsalya (crimson) and mādhurya (śyāma), displaying how Kṛṣṇa has conquered the heart of all the bhaktas situated in 5 different rasas.

In the name 11th of Lalitāsahasranāma, she is called “Pañcatanmātrasāyakā”. The 5 tanmātras are śabda (sound), sparśa (touch), rūpa (color), rasa (taste), and gandha (smell), and Bhagavatī Lalitā Tripurasundarī carries 5 arrows that represent 5 tanmātras. In a sthūla (gross) level, the 5 arrows are 5 flowers, viz. lotus (multicoloured), raktakairava (red/crimson), kalhāra (white), indīvara (śyāma/dark), and āmra puṣpa (yellowish-orange) — कमलं कैरवं रक्तं कह्लारेन्दीवरे तथा ।।.

On the other hand, at a sūkṣma (subtle) level, these 5 arrows are considered 5 emotions, viz. harṣaṇa (enchantment), rocana (attraction), mohana (delusion), śoṣaṇa (drying up), and also māraṇa (destruction) as per Kālikā Purāṇa, 2.15–16 — हर्षणं रोचनाख्यञ्च मोहनं शोषणं तथा || १५ || मारणञ्चेति संज्ञाभिर्मुनिमोहकराण्यपि |.

As per Jñānārṇava Tantra, 2.45–46, these 5 arrows are kṣobhaṇa (agitation), drāvaṇa (melting), karṣaṇa (attraction), vaśya (subjugation), and unmāda (intoxication/madness) — क्षोभणद्रावणौ देवि तथा कर्षणसंज्ञकः ।। ४५ ।। वश्योन्मादौ क्रमेणैव नामानि परमेश्वरि ।.

In the Tantrarāja Tantra, 7.13, the 5 arrows of Bhagavatī Lalitā viz. madana, unmādana, dīpana, mohana, śoṣaṇa belongs to her 2nd kalā, i.e. Kāmeśvarī — मदनोन्मादनौ पश्चात्तथा दीपनमोहनौ | शोषणश्चेति कथिता बाणाः पञ्च पुरोदिताः || १३ ||.

Bhagavān Śrī Kṛṣṇa wearing the vaijayantīmālā could signify his dominance/victory over the 5 tanmātras & emotions explained above, also it could mean that he is capable of producing such emotions in a person, but also freeing him from such emotions which is identical to the qualities of Bhagavatī Lalitā Tripurasundarī.

As per Śrīmad Bhāgavatam, 1.3.28, Bhagavān Kṛṣṇa is directly Nārāyaṇa himself, because in him all the 16 kalās of supreme Puruṣa are fully manifested.

As per Praśnopaniṣad, 6.4, those 16 kalās are 1. prāṇa (the vital force), 2. faith (śraddhā), 3. space (kha/ākāśa), 4. air (vāyu), 5. fire/light (jyoti), 6. water (āpaḥ), 7. earth (pṛthivī), 8. the senses (indriyāṇi), 9. the mind (manas), 10. food (anna), 11. strength (vīrya), 12. austerity (tapas), 13. the mantras, 14. actions (karma), 15. the worlds (lokāḥ), and 16. names (nāma) — स प्राणमसृजत प्राणाच्छ्रद्धां खं वायुर्ज्योतिरापः पृथिवीन्द्रियं मनः अन्नमन्नाद्वीर्यं तपो मन्त्राः कर्मलोका लोकेषु च नाम च ॥.

In the name 391th of Lalitāsahasranāma, she is called “Nityāṣoḍaśikārūpā” which means that she is of the form of 16 nityās. As per Tantrarāja Tantra, these 16 nityās are 1. Kāmeśvarī, 2. Bhagamālinī, 3. Bheruṇḍā, 4. Nityaklinnā, 5. Vahnivāsinī, 6. Mahāvajreśvarī, 7. Śivadūtī, 8. Tvaritā, 9. Kulasundarī, 10. Nityā, 11. Nīlapatākā/Nīlapatākinī, 12. Vijayā, 13. Sarvamaṅgalā, 14. Jvālāmālinī, 15. Citrā, and 16. Tripurasundarī herself.

As per Tantrarāja Tantra, 7.19–20, Bhagavatī Kāmeśvarī, who is the first nityā, is represented by 16 kalās, viz. 1. Pūṣā, 2. Veśā, 3. Sumanasā, 4. Rati, 5. Prīti, 6. Dhṛti, 7. Vṛddhi, 8. Saumyā, 9. Marīci, 10. Aṃśumālinī, 11. Śaśinī, 12. Āṅgirā, 13. Chāyā, 14. Sampūrṇa-maṇḍalā, 15. Tuṣṭi, 16. Amṛtā — पूषोवेशा सुमनसा रतिः प्रीतिर्धृतिस्तथा | वृद्धिसौम्या मरीचिश्च परतस्त्वंशुमालिनी || १९ || शशिनी चाङ्गिरा छाया ततः सम्पूर्णमण्डला | तुष्ट्याऽमृताख्यया कथिताः कलाः स्युः सस्वरा विधोः || २० ||.

As per Nārada Purāṇa, 1.88.16, the 16 kalās of Kāmeśvarī also belong to Bhagavān Kṛṣṇa, because Bhagavatī Śrī Lalitā manifested as Bhagavān Kṛṣṇa — ससर्ज षोडशकलास्ताः सर्वास्तत्समप्रभाः ॥.

As per Nārada Purāṇa, 1.88.18–22, the mātṛkāśaktis of Lalitā Tripurasundarī are — vāta (अ), marut (आ), vahni (इ), agni (ई), dharā (उ), jalacāriṇī (ऊ), (ऋ ॠ ऌ ॡ), vibhu, svaḥ ( bindu “˙”), cara (ए), śuci (ऐ), bhūḥ (ओ), vanaṃ (औ), kham (अं), (अः) (16), prāṇa (क), tejas (ख), sthirā (ग), vāḥ (घ), dyuḥ (ङ), vāyu (च), prabhā (छ), jyā (ज), kum (झ), abhraṃ (ञ), nāda (ट), dāvaḥ (ठ) (12), kaḥ (ड), pātha (ढ), vyoma (ण), rayaḥ (त), śikhi (थ), gotrā (द), toyam (ध), śūnyam (न), javī (प), dyuti (फ) (10), bhūmi (ब), rasa (भ), nabhaḥ (म), vyāpta (य), dāha (र), rasā (ल) (6), ambu (व), viyat (श), sparśa (ष), hṛt (स) (4), haṃsa (ह), grāsa (क्ष:) (2), ilā (ल).

All the abovementioned mātṛkāśaktis of Lalitā Tripurasundarī belong to Bhagavān Śrī Kṛṣṇa in the form his beloved gopīs, and he is always surrounded by them, which is stated in Tantrarāja Tantram, 34.85 — ततः स गोपीसंज्ञाभिरावृतोभूत् स्वशक्तिभिः |.

śaṅkā: Bhagavati Lalitatripurasundari is called कराङ्गुलिनखोत्पन्ननारायणदशाकृत्यै नमः. By that it is clear that the 10 avataras of narayana were born out of 10 fingernails of lalita. Doesn’t this make narayana inferior to lalita? nivāraṇa: While it is true that Nārāyaṇa and his 10 avatāras were shown to be “born” of Bhagavatī Lalitātripurasundarī’s fingernails, but that has 2 different interpretations.

As per Bhāskararāya, in Saubhāgyabhāskara, there are 2 interpretations. One is where from Bhagavatī Lalitātripurasundarī’s nails 10 avatāras of Nārāyaṇa appeared to defeat Bhaṇḍāsura which is a literal interpretation and another is talking about 5 avasthās of the mind — जाग्रत, स्वप्न, सुषुप्ति, तुरीय, कौवल्य & 5 kṛtyas of Īśvara —सृष्टि, स्थिति, संहार, तिरोधान, अनुग्रह्‌ which is a symbolic interpretation.

However, even in the literal interpretation, there is a strong symbolic meaning hidden to it. To understand कराङ्गुलिनखोत्पन्ननारायणदशाकृतिः, we must first understand what is the real nature of Bhagavatī Lalitā in the sahasranāma.

As per Kāmadhenu Tantram, 1.7, kuṇḍalinī, being the supreme brahman who manifest into 50 letters of the sanskrit alphabet called the mātṛkās, further manifest into vidyās & mahāvidyās — नानाविद्यामयीं देवीं महाविद्यामयीं तथा. In the Śaktisaṅgama Tantra, Kālī Khaṇḍa, 1.84 also it is mentioned that all different forms of mahāvidyā arise from kuṇḍalinī — एवं विद्याः समुत्पन्नाः कुण्डलीतो महेश्वरि. In the Varāhopaniṣad, 5.51, it is mentioned that in mulādhāra cakra, Ādi Parāśakti in the form of kuṇḍalinī resides — यत्र कुण्डलिनी नाम परा शक्तिः प्रतिष्ठिता।. In nāma 110th, her true nature is of कुण्डलिनी, who reside in mulādhāra cakra.

Just like how from the kuṇḍalinī, 10 mahāvidyās are manifested, similarly from the same kuṇḍalinī, 10 avatāras are manifested as per Kāmadhenu Tantram, 13.11— बीजात्तु जायते विष्णुरवतारवरः प्रिये. In reality, Bhagavatī Lalitā and Bhagavān Viṣṇu are one and the same, which is why the 10 mahāvidyās are equated with 10 avatāras in other tantras.

— — — — — — — — — — — — — — — — — — — — — — — — — — —

GOPĀLAKĀLIKĀ

Let us now understand Kṛṣṇakālī/Gopālakālīkā, the abheda of Kṛṣṇa and Kālikā.

There is a famous loka-pracalita kathā in bengal folklore that once, on the night of Māgha Caturdaśī, Śrīmatī Rādhā rushed to meet Lord Kṛṣṇa, who was playing his flute under a Kadamba tree near the river Yamunā in Vrajadhām. Śrīmatī Rādhā was married to Ayan Ghoṣa and had two wicked sisters-in-law — Jaṭilā and Kuṭilā. Upon seeing that Śrīmatī Rādhā had rushed to meet Lord Kṛṣṇa, Jaṭilā and Kuṭilā brought Ayan Ghoṣa to catch her red-handed. But when Ayān Ghoṣa reached the spot, he was astonished to see that Kṛṣṇa was nowhere to be seen, and on the other hand, Śrīmatī Rādhā was worshipping Goddess Kālī.

অনন্ত প্রভুর লীলা কে করে বর্ণন। শ্যাম সাজিলেন শ্যামা শুন সর্ব্বজন।। “Who can describe the ananta prabhū’s divine play? Hear, O all — Śyāma (Kṛṣṇa) has adorned himself as Śyāmā (Kālī).” — Bṛhat Kṛṣṇalīlā sārāvalī, 331–334.

Ayan Ghoṣa was a great bhakta of Kālī, but he had never had the opportunity to see the her in person. He was deeply impressed by Śrīmatī Rādhā’s devotion and began to narrate the story (called “raṭanā” in bangla) everywhere. Thus, this form of Kālī came to be known as “Rāṭantī Kālī,” and is worshipped on Māgha Chaturdaśī, though it is generally customary to worship Goddess Kālī on amāvasyā, the new moon night. This loka-pracalita kathā is beneficial for the cultivation of bhakti toward Kṛṣṇa-Kālī, but it is not sufficient proof for Kṛṣṇakālī. If the essence of a kathā is supported by at least one śāstrīya pramāṇa, then the bhakti bears immense phala.

Jayapurarājavaṃśāvali, 171 also draws a parallel between Bhagavān Śrī Hari & Bhagavatī Śrī Kālikā. The supreme brahman appears in the form of the 10 mahāvidyās beginning with Kālī, then 10 avatāras beginning with Kṛṣṇa. Therefore, that brahman is called prakṛti, and also puruṣa. the 10 mahāvidyās beginning with Kālī, and the 10 avatāras beginning with Kṛṣṇa are in truth, one and the same. With one half brahman manifested as male, and with the other half as female, therefore, it’s body appears divided into prakṛti and puruṣa. The feminine form beginning with Kālī may at times assume a masculine form such as Kṛṣṇa. The masculine form beginning with Kṛṣṇa may at times assume a feminine form such as Kālī. Although there are differences of bodies due to different incarnations voluntarily assumed, there is no real difference in their essential nature— यद्वा यदेकरूपं पर ब्रह्मात्मकं प्रकृतिः पुमानपि द्विधाकृत्वात्मनो देहमर्धेन पुरुषोऽभवत् अर्धेन नारीत्यादि स्मृत्या प्रकृतिपुरुषभेदेन द्विधाकृतशरीरमपि काल्यादिदशविद्यास्वरूपेण कृष्णादिदशावतारान् भजतीति तथा इत्यन्वयभेदः अर्थात् काल्यादिस्त्रीरूपमपि कदाचित् कृष्णादि पुंरूपतां लभते कृष्णादिपुंरूपमपि काल्यादि स्त्रीरूपतां च लभते तथा च स्वेच्छाविग्रहयोस्तयोरवतारभेदेन शरीरभेदसत्वेऽपि स्वरूपस्य वास्तवो भेदो नास्तीत्यर्थः॥.

In Bṛhannīla Tantram, 8.131–132, Maheśvara states — The avināśinī Tārā , who grants ātmajñāna, who shines as the very self, and whose nature is eternal bliss , is herself the stainless (nirañjana, free from māyā) supreme self appearing as Rāma, Mahāviṣṇu, Mahāśiva, and Kṛṣṇa. The same Tārā in paramārtha is non-different from Kālī as mentioned in Muṇḍamālā Tantra 1.1.15 — यथा काली तथा तारा तथा त्रिपुरसुंदरी।.

चण्डमुण्डशिरच्छेत्ता महिषासुरमर्दकः। महाकालीरूपधरः चामुण्डीरूपधारकः॥ निशुम्भशुम्भसंहर्ता रक्तबीजासुहारकः। भण्डासुरनिषूदको ललितावेषधारकः॥ — In the Rogahara Guruvāyurappan/Nārāyaṇīya Sahasranāmastotram, 150–151, Bhagavān Śrī Kṛṣṇa is praised as, The slayer of Caṇḍa and Muṇḍa, the destroyer of Mahiṣāsura, manifesting as Mahākālī and Cāmuṇḍā; the conqueror of Śumbha, Niśumbha, and Raktabīja, the destroyer of Bhaṇḍāsura, in the form of Lalitā.

In Rādhā Tantra, Vāsudeva Rahasya, 30.1313, Bhagavān Śiva says “कृष्णस्तु कालिका साक्षात्” which explicitly mentions that Kṛṣṇa and Kālī are simultaneously in the form of each other, thus proving the abheda of Kṛṣṇa and Kālī.

In Toḍala Tantra, 10.11, Śiva says that Bhagavatī Kālī is Kṛṣṇamūrti, but also mentions the aikya 10 mahāvidyās with the 10 avatāras of hari. Bhagavatī Tārā is of the form of Matsya, Bhagavatī Bagalāmukhī is of the form of the Kūrma, Bhagavatī Dhūmāvatī is of the form of Varāha, Bhagavatī Chinnamastā is Bhagavān Narasiṁha, Bhagavatī Bhuvaneśvarī is Vāmana, Bhagavatī Mātangī is of the form of Bhagavān Śrī Rāma, Bhagavatī Tripurā is of the form of Bhagavān Paraśurāma, Bhagavatī Bhairavī is Balabhadra/Balarāma, Bhagavatī Mahālakṣmī becomes Bhagavān Buddha, Bhagavatī Durgā is of the form of Bhagavān Kalki, and Bhagavatī Kālī is Bhagavān Śrī Kṛṣṇa herself.

Puraścaryārṇava, 1.119–121 quotes Muṇḍamālā Tantra, and just like Rādhā Tantra, Vasudeva Rahasya 30.1313, the phrase “कृष्णस्तु कालिका साक्षाद्” is found along with the 10 avatāras of hari. Bhagavatī Kālīkā is directly of the form of Bhagavān Kṛṣṇa, Bhagavatī Tārā is of the form of Bhagavān Śrī Rāma, Bhagavatī Bhuvaneśvarī is of the form of Varāha, Bhagavatī Bhairavī is Bhagavān Narasiṁha, Bhagavatī Dhūmāvatī is of the form of Vāmana, Bhagavatī Chinnamastā is of the form of Bhagavān Paraśurāma (born in the Bhṛgu lineage), Bhagavatī Kamalā is of the form of Matsya, Bhagavatī Bagalāmukhī is of the form of the Kūrma, Bhagavatī Mātangī is of the form of Bhagavān Buddha, and Bhagavatī Ṣoḍaśī (Tripurasundarī) is of the form of Bhagavān Kalki.

प्रकृतिर्विष्णुरूपा च पुंरूपश्च महेश्वरः। एवं प्रकृतिभेदेन भेदास्तु प्रकृतेर्द्दश॥ कृष्णरूपा कालिका स्यात् रामरूपा च तारिणी। वगला कूर्म्ममूर्त्तिः स्यान्मीनो धूमावती भवेत्॥ छिन्नमस्ता नृसिंहः स्याद्वराहश्चैव भैरवी। सुन्दरी यामदग्न्यः स्याद्वामनो भुवनेश्वरी॥ कमला बौद्धरूपा स्यात् दुर्गा स्यात् कल्किरूपिणी। As per Muṇḍamālā Tantra quoted in Śabdakalpadruma, 3.671 — Prakṛti is of the form of Viṣṇu, and Puruṣa is of the form of Maheśvara; thus, due to the divisions of prakṛti, her forms are said to be 10. Bhagavatī Kālīkā is of the form of Bhagavān Kṛṣṇa, Bhagavatī Tārā is of the form of Bhagavān Śrī Rāma, Bhagavatī Bagalāmukhī is of the form of the Kūrma, Bhagavatī Dhūmāvatī is of the form of Matsya, Bhagavatī Chinnamastā is Bhagavān Narasiṁha, Bhagavatī Bhairavī is of the form of Varāha, Bhagavatī Tripurasundarī (Ṣoḍaśī) is of the form of Bhagavān Paraśurāma, Bhagavatī Bhuvaneśvarī is of the form of Vāmana, Bhagavatī Kamalā is of the form of Bhagavān Buddha, and Bhagavatī Durgā is of the form of Bhagavān Kalki.

स्वयं भगवती काली कृष्णस्तु भगवान् स्वयम्। स्वयञ्च भगवान् कृष्णः कालीरूपो भवेद्व्रजे॥ — The same page mentions another verse from the Muṇḍamālā Tantra stating that Kālī herself is the Supreme Bhagavatī, and Kṛṣṇa is the Supreme Bhagavān himself; indeed, that very Bhagavān Kṛṣṇa manifests in Vraja in the form of Kālī.

In the Mantra Mahārṇava, Devī Khaṇḍa, 4.13, Dakṣiṇākālī nāma mālā, she is referred as कृष्णरूपा which literally means “having the form of Kṛṣṇa.” This does not merely refer to similarity in complexion or appearance. Rather, it conveys the doctrine that Kālī and Kṛṣṇa share the same essential divine nature.

Similar to Nārada Purāṇa that called Bhagavatī Lalitā “कृष्णरूपिणी”, as per Muṇḍamālā Tantra 1.8.10, Kālī is called “कृष्णरूपिणी”.

In the Śyāmā Rahasya Tantra, 15 also, Bhagavatī Kālikā is called “कृष्णरूपिणी” which repeats what Muṇḍamālā Tantra had earlier said.

Mahākāla Saṃhitā, Guhyakālī Khaṇḍa, 3.13.343, state that in order to play divine līlā and enchant the three lokas, Kālī took the form of Vaṃśīdhara (bearer of the vaṃśī) Kṛṣṇa. This short of the divine play of Bhagavatī Kālī is similar to the divine play carried out by Bhagavatī Tripurasundarī from the previous sources.

As per Kubjikā Tantra, 1.34, she who is Kālī — she herself, in the kaliyuga, assumed the form of Kṛṣṇa, sported in Vṛndāvana, and with the sound of her own flute enchanted the three worlds. The verse doesn’t necessarily mean Bhagavatī Kālī literally assumed the form of Bhagavān Śrī Kṛṣṇa in kaliyuga. It only means that for the welfare of the bhaktas of kaliyuga and to show their oneness, Bhagavatī Kālī appear as Bhagavān Śrī Kṛṣṇa and Bhagavān Śrī Kṛṣṇa appears as Bhagavatī Kālī, so they should both be worshipped with equal devotion.

As per a śloka in Meru Tantra (preface), one who is Brahmā is the same as Hari, and the one who is Hari is the same as Maheśvara. The one who is Kālī is the same as Kṛṣṇa, and the one who is Kṛṣṇa is the same as Kālī. With regard to deva-devī, it is not proper to allow any sense of difference to arise in one’s mind. No matter how many names and forms the deity may have, all are one, and this universe too is entirely of the nature of Śiva–Śakti. This śloka is extracted from Bhaviṣya Purāṇa, 4.205.11–13, however, the original verse doesn’t have या काली सैव कृष्णः स्याद्यः कृष्णः सैव कालिका ।।, so the arrangement of the verse in the abovementioned is quite suspicious and it’s better not to use it.

However, Kubjikā Tantra, 1.31 also states that which is Kṛṣṇā (Kālī), is Kṛṣṇa and at the same time, she is Brahmā — या तु कृष्णा सैव कृष्णस्तथा ब्रह्मा प्रकीर्तितः.

Kālī Svarūpa Tattva, 2 written by Śyāmānandanātha quotes Kālīvilāsa Tantra — He who is Śiva is indeed Durgā; and she who is Durgā is verily Śiva. He who is Śiva is indeed Kṛṣṇa; and she who is Kālī is verily Kṛṣṇa.

However, the original verse from Kālīvilāsa Tantra, 9.9–10 goes like this — यः शिवः सैव दुर्गा स्यात् या दुर्गा शिव एव सः॥ यः शिवः कृष्ण एव स्यात् यः कृष्णः शिव एव सः।, which means he who is Śiva is indeed Durgā, and she who is Durgā is verily Śiva. He who is Śiva is indeed Kṛṣṇa, and he who is Kṛṣṇa is verily Śiva. The verse is wrongly attributed to Kālīvilāsa Tantra, but neither the message, nor the essence, nor the intention, so it’s accepted.

श्मशानकालिका भद्रकाली श्रीकृष्णकालिका | In Rudrayāmalokta Devī Rahasyam, Pariśiṣṭha, Maharājñī sahasranāma, 97, she is called Śrīkṛṣṇakālikā. This proves that Śrī Kṛṣṇakālikā is none other than her, the supreme Bhagavatī Maharājñī Śrī Rājarājeśvarī. She is the form of Kṛṣṇa, she is the form of Kālī, as well as Śrī Kṛṣṇakālī.

Mahānīla Tantrāgama quoted in Tārā Rahasyam, 1.134, states that in kaliyuga, the worship of Kṛṣṇa and Kālī along with their yoga, ‘Gopālakālikā’/‘Kṛṣṇakālī’ yields the most benefits because both Kṛṣṇa and Kālī are the bestowers of dharma, artha, kāma, and mokṣa. Both devatās, being prakṛti-puruṣātmakā brahman, are capable of bestowing siddhi of bhakti and jñāna if worshipped properly, and both help restore the much-needed dharma in kaliyuga through their bhaktas. The same meaning is stated in Kubjikā Tantra, 1.34.

Sarvollāsa Tantra, 3.30–34 states — In the earliest state of cosmic bliss, yet accompanied by a mysterious and awe-inspiring darkness, prakṛti existed enveloping puruṣa. In that primordial condition she was described as possessing a subtle form resembling a tiny particle, transcending all ordinary states of experience. She rested in a condition beyond all manifest emotions and qualities. Paramāśakti, the supreme power, addressed the divine being who is the source of all sensory and inner delight, and who is self-established as his own proof. Speaking affectionately, the supreme power requested him, “O beloved, unite with me.” When Mahādeva heard these words, he responded to prakṛti. Although he was already drawn toward her, he spoke to the goddess with the same sentiment: “O devi, beloved, unite with me.” Thus both addressed one another with the same desire for union/yoga. The two did not oppose or cancel each other. Rather, their mutual words expressed the same intention and were perfectly harmonious. At that very moment mahāśakti assumed the form of Bhagavān Kṛṣṇa. When that form of Kṛṣṇa appeared as the masculine manifestation, Bhagavān Mahādeva assumed the form of Bhagavatī Rādhikā. This story is somewhat mentioned in Devī Bhāgavatam, 9.3.

सा स्वयं शिवरूपाभूत्कौतुकेन वरानने। तदृष्ट्वा सहसाश्चर्यं कृष्णो योगेश्वरेश्वरः॥ २२ मूलप्रकृतिरूपं तु दध्रे तत्समयोचितम्। विपरीतं वपुर्धृत्वा वामदेवो मुदान्वितः॥ २३ In Nārada Purāṇa, 5.59.22–23 also, while describing Goloka, Vasu states — Bhagavatī Rādhā, worshipped by the excellent devatās, out of līlā pūrvaka kautuka, assumed the form of Śiva herself. On seeing this, Bhagavān Śrī Yogeśvara Kṛṣṇa assumed the form of the mūlaprakṛti as befitting that occasion. It is due to their yoga the sṛṣṭi was born. Drawing parallel of this kathā to the one in Sarvollāsa Tantram, the form of mūlaprakṛti that Bhagavān Śrī Kṛṣṇa assumed is Bhagavatī Kālikā herself.

Śākta Mahābhāgavatam, 50.76–79 mentions a story of how Bhagavān Śrī Kṛṣṇa appeared as Bhagavatī Kālikā before his mother Devakī, similar to how he appeared as Bhagavatī Tripurasundarī before Bhagavatī Bhuvaneśvarī.

GOPĀLAKĀLIKĀ ABHEDA RAHASYA

There is also an esoteric truth behind the abheda of Bhagavān Śrī Kṛṣṇa & Bhagavatī Śrī Kālikā that we will try to explain with a few śāstriya pakṣas.

Rādhā-Kṛṣṇa Gaṇoddeśa Dīpikā, 122 states — The veṇu, by means of its sound — which acts like a hook — captures and subdues the fish-like mind of Śrī Rādhā, and thereby greatly delights the heart of Śrī Kṛṣṇa. Hence, it is also called Mahānandā. The 6 finger holes (+1 for blowing air) of this veṇu are known by the name Madanajhaṅkṛti.

From the 6 (+1) holes of the veṇu of Bhagavān Śrī Kṛṣṇa emerged Bhagavatī Gāyatrī who entered through the 8 ear-openings of Bhagavān Brahmā and reached his lotus-like mouth, as it’s evident in Brahma Saṃhitā, 5.27.

It is said in Gāyatrī Tantra, 1.35 that Bhagavatī Gāyatrī’s divine body is composed of the 50 mātṛkā varṇas (50 letters of the sanskrit alphabet)— पञ्चाशद्वर्णसंयुक्तं गायत्रीनिर्मितं वपुः. Therefore, the 7 svaras that emerge from the 7 holes of the veṇu of Bhagavān Śrī Kṛṣṇa in the form of Bhagavatī Gāyatrī, are in reality the 50 mātṛkās.

पञ्चाशद्वर्णरूपा या निर्वाणं सा ददाति हि …इति ते कथितं भक्त्या डाकिन्यादि-विनिर्णयम् ।।२५१।। डाकिनी राकिनी चैव लाकिनी काकिनी तथा । शाकिनी हाकिनी देवी वर्णानामंत्र देवता ॥ २५२॥ — As per Kaṅkālamālinī Tantra, 5.250–252, ḍākinī, rākinī, lākinī, kākinī, śākinī and hākinī are the embodiments of the 50 mātṛkās.

In some tantraśāstras like Jñānārṇava Tantra, 14.103, a 7th yoginī called yākinī is also mentioned who is the adhiṣṭhātrī devī of the sahasrāra cakra/brahmarandhra — सर्वधातुगतां देवीं शुक्लवर्णां तु याकिनीम् | ब्रह्मरन्ध्रे महेशानि न्यासोऽयं योगिनीयुतः ||.

I. Yākinī — Sahasrāra cakra: All the 50/51 mātṛkās II. Hākinī — Ājñā cakra: हं लं क्षं (3) अधुना संप्रवक्ष्यामि सुभगे श्रृणु हाकिनीम् । III. Śākinī — Viśuddha cakra: वं शं षं सं (4) इदं तु शाकिनी-बीज चतुर्वर्ग प्रदायकम् ॥ IV. Kākinī — Anāhata cakra: पं फं बं भं मं यं रं लं (8) कथितं काकिनी बीजं चतुर्वर्ग फलप्रदम् ॥ V. Lākinī — Maṇipūra cakra: टं ठं डं ढं णं तं थं दं धं नं (10) इति ते कथितं भक्त्या लाकिनी बीज निर्णयम् । VI. Rākinī — Svādhiṣṭhāna cakra: कं खं गं घं ङं चं छं जं झं ञं (10) इति ते कथितं भक्या राकिनी बीजमद्‌भुतम् ॥ VII. Ḍākinī — Mulādhāra cakra: अं आं इं ईं उं ऊं ऋं ऋं लृं एं ऐं ओं औं अं अः (16) प्रथमे डाकिनी बीजं युवती षोडशाक्षरम् ॥

They are called the varṇanāyikās and are of the form of 50 mātṛkās (as listed above). Collectively, these 7 varṇanāyikās are called yoginīs of Bhagavatī Kālikā in the form of her muṇḍamālā — पञ्चाशन्मुण्डघटितमालाशोणितलोहिताम् ॥ ८॥.

Saṅgīta Sāra mentioned in Bhāgavat Sandarbha, 6.283 (Prīti Sandarbha), states — As many kinds of living beings as there are, so many forms of rāgas exist. Among them, 16,000 supreme rāgas were first manifested by the gopīs — तावन्त एव रागाः स्युर्यावत्यो जीवजातयः । तेषु षोडशसाहस्री पुरा गोपीकृता वरा ॥, which makes it clear that the gopīs are the 7 svaras that manifested into the 16,000 supreme rāgas.

Since the 7 svaras are manifested from the sound composed of 50 mātṛkā varṇas starting from अ to क्ष, as mentioned in the Yogaśikhopaniṣad, 3.8 —अकारादिक्षकारान्तान्यक्षराणि समीरयेत् ।… सप्तस्वराश्च गाथाश्च सर्वे नादसमुद्भवाः।, it is of no doubt that the gopīs of Bhagavān Śrī Kṛṣṇa are in reality the 7 yoginīs of Bhagavatī Kālikā.

In Bṛhad Gautamīya Tantra quoted by Śrī Jīva Gosvāmī in Śrī Gopāla Campuḥ, Pūrva Campuḥ, 1.22, Bhagavān Śrī Kṛṣṇa states — The gopakanyās (gopīs) who dwell here in my abode, are yoginīs, eternally established by me and wholly devoted to my service — अत्र या गोपकन्याश्च निवसन्ति ममालये । योगिन्यस्ता मया नित्यं मम सेवापरायणाः ॥. In the same way, the yoginīs are also the sevikās/sahacarīs of Bhagavatī Kālikā.

In the Garga Saṃhitā, 4.1.5 it is stated that because of a boon given by Bhagavān Śeṣaśāyī Viṣṇu, the 4 vedas took birth as gopīs in the gopa families of vraja. Those gopīs are the yoginīs of Bhagavatī Kālikā, since it is through the 50 mātṛkās of kuṇḍalinī that the vedas are revealed as per Kāmadhenu Tantram, 6.23–24 — अकारादिक्षकारान्तं स्वयं परमकुण्डली । … वेदश्व स्मृतिशास्त्रञ्च अन्यानि यानि कानि च ॥२४॥ अक्षराज्जायते सर्व परं ब्रह्म स्वयं प्रिये ।, so it is a fact that the 7 mātṛkāsvarūpiṇī varṇanāyikās, who are the embodiment of the 4 vedas took birth as gopikās.

In essence, it is pretty clear that the veṇu of Śrī Kṛṣṇa is none other than muṇḍamālā of Kālikā, the 7 holes of the veṇu symbolize the 7 cakras and the gopīs are the mātṛkāsvarūpiṇī varṇanāyikās/yoginīs — ḍākinī, rākinī, lākinī, kākinī, śākinī, hākinī & yākinī.

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CONCLUSION

Śivaśaktirūpā Devī is the embodiment of Harihara; she maintains complete abheda with Hari and Hara, being the śakti of both. This is because śakti is one in many forms, and it is impossible for śakti and śaktimat to be different in paramārtha. Since Bhagavatī is the śakti of all in different forms, she is śaktimat. Umā, the Avyakta Prakṛti (Pradhāna), when in yoga with Puruṣa, manifests jagat. But her manifestation is not due to bheda between Puruṣa and Prakṛti — Puruṣa and Prakṛti are two-fold brahman, and therefore this Avyakta Prakṛti has her own nature as Puruṣa. Through her own nature as Puruṣa, she plays the divine līlā of creation, and ultimately, the creation results in everything appearing as bheda when in reality it is absolute abheda Brahman. After prapañca, Puruṣa and Prakṛti appear as different; therefore, Śiva, Śakti, and their yoga, Viṣṇu, also appear different. But Viṣṇu is Umā as well as Śiva. Whenever dharma declines, Śrīman Nārāyaṇa assumes different avatāras to restore it, and so does Bhagavatī, which is why we associate the ten avatāras of Nārāyaṇa with the ten Mahāvidyās. Since there is a decline of dharma in Kali-yuga, the only devatā who can restore dharma is Bhagavān Kṛṣṇa, who is none other than Bhagavatī Kālīkā, as confirmed by the śāstras. There is no point in arguing over that.

Thanks for reading.

Hara Hara Mahādeva Namaścaṇḍikāyai