Chamunda Tantrokta Bali Pujan for Sandhi Puja — the Kaushiki Origin Story and the Full Vidhan

What is Sandhi Puja, and when does it fall?

The speaker says Navratri holds a window in which prayer and vidhi-vidhan offered to Bhagavati for the destruction of an enemy, of abhichar, or of negative forces like ghosts certainly bears fruit — the moment when Ashtami tithi ends and Navami tithi begins, a sandhi kaal or transition period, popularly announced at Durga Puja pandals as the time devotees should be present for Sandhi Puja.

The speaker opens by saying that Navratri holds a particular window in which, if we pray to Bhagavati through a special vidhi-vidhan for the destruction of an enemy, for the destruction of Abhichara, or for the destruction of negative forces such as ghosts and pishach, it certainly bears fruit. That window, he says, is the moment when Ashtami tithi is ending and Navami tithi is beginning — a sandhikaal, a transition period, which we call Sandhi Kaal. He notes that people will have heard this from the announcements at Durga Puja pandals, where it is called out that this is the time of Sandhi Puja and devotees should be present. Today's discussion, he says, is how we ourselves can perform this Sandhi Puja at home and how we can draw benefit from it.

Bhagavati Chamunda said to pervade the whole world in her ugra form in that window, every negative force eclipsed, bound and pressed under her feet

The speaker says the Sandhi Kaal is so divine and supremely effective in itself that Bhagavati Chamunda is said to pervade the entire world directly in her ugra form during this period, and because of that ugrata every negative force in the world comes under eclipse, gets bound, and is pressed down under her feet.

Keep in mind, the speaker says, that the time of Sandhi Puja, the Sandhi Kaal itself, is so divine and so supremely effective that it is said Bhagavati Chamunda pervades the entire world directly, in her fully manifest ugra (fierce) form, during this period. Because of that ugrata, he says, every negative force in the whole world comes under a kind of eclipse — they become bound, and are pressed entirely under her feet. He then turns to the story behind why this is so.

Where do Kaushiki and Kalika come from, according to Durga Saptashati chapter 7?

The speaker retells Durga Saptashati chapter 7: after Shumbha-Nishumbha expel the devas from heaven, the devas praise and invoke Bhagavati on the Himalaya, where Parvati was engaged in tapasya. On that stuti, a devi emerged from Parvati's body; the form left behind turned black and became famed as Kalika of the Himalaya (Kalika Mahashakti), while the form that emerged, of fair complexion, was named Kaushiki — regarded as a form of Mahasaraswati and, in part, identified with the Ashtabhuja form of Bhagavati at Vindhya. Kaushiki then took refuge on the Himalaya itself, present there as part of the plan for Shumbha-Nishumbha's destruction.

The speaker says this is recounted in the seventh chapter of the Durga Saptashati whenever it is read. First Shumbha and Nishumbha expel the devas from Swarga Lok; the devas then go to the Himalaya mountain and offer stuti to Bhagavati, invoking her through it, saying: O Jagdamba, you gave us a boon in an earlier time that whenever calamity befalls us and we call upon you, you will certainly appear and help us. At that very time, Bhagavati Parvati was on the Himalaya, having gone there for the purpose of tapasya. When the devas offered their stuti, a devi emerged from Jagdamba Parvati's body. As that devi came out of Bhagavati Parvati's body, Mother Parvati's own form turned black, of krishna varna. That black form, remaining established on the Himalaya, went on to become famed as the Kalika of the Himalaya — she is the same as Kalika Mahashakti. The form that had emerged from Bhagavati's body was of gaur (fair) complexion, and her name was Kaushiki. She is also regarded as a form of Mahasaraswati, and it is said that, in part, the Ashtabhuja form of Bhagavati at the Vindhya mountain is this same form of Mahasaraswati. This Mahasaraswati, Bhagavati Kaushiki, took refuge on the Himalaya itself, present there in a planned way for the destruction of Shumbha and Nishumbha.

The two messengers who saw her first, arguing that the finest woman should be theirs as Varuna's gold-raining umbrella and Airavat already were

Chanda and Munda, the two messengers of Shumbha and Nishumbha, were the first to see Bhagavati Kaushiki, and went and described her beauty to their masters, listing the wealth Shumbha-Nishumbha already possessed — Varuna's umbrella that rains gold, Indra's elephant Airavat, Yamraj's kaal-dand — and arguing that the world's most beautiful and finest woman should belong to them too.

Chanda and Munda, the two messengers of Shumbha and Nishumbha, were the first to see Bhagavati Kaushiki, and they went and described her beauty to their masters. The speaker remarks that this is simply what such demons do — first they drive the devas out of heaven, and then their own intellect works toward their own end, as it is said that when Bhagavan means to bring suffering upon someone, he first takes away their intellect; here Jagdamba takes away the intellect of Chanda and Munda, and they become infatuated, going off to extend an invitation to their own death. Chanda and Munda went and praised her beauty, saying: what a beautiful woman she is. They told Shumbha and Nishumbha that they already possessed every excellent thing this world has to offer — the umbrella of the deity Varuna, which rains gold; Indra's elephant Airavat; even Yamraj's kaal-dand — so why should the most beautiful and finest woman in the world not belong to them as well?

A pran that only whoever defeats her in battle may be her husband, met with Sugriva's threat to drag her there by the hair

On hearing of her beauty, Shumbha and Nishumbha send their messenger Sugriva to fetch her, asking her to choose one of the two brothers as husband. Bhagavati proudly answers that she has taken a vow that only whoever defeats her in battle will become her husband. Sugriva calls this pride misplaced and warns that if she does not come at once, Shumbha-Nishumbha will grind that pride to dust and drag her there by the hair — but Bhagavati says she cannot go back on the commitment she has already taken.

Hearing of her beauty, Shumbha and Nishumbha send their messenger Sugriva to go and speak with her and bring her back. Sugriva goes and, with much flattery mixed with intimidation, tells Bhagavati that she should choose one of the two conquerors of the three worlds, Shumbha or Nishumbha, and become his wife. Bhagavati answers with great pride that she has taken a vow (pran): whoever defeats her in battle will become her husband in future. Sugriva says such pride is not right — if she does not come along now, Shumbha-Nishumbha will grind that pride and honour into dust and drag her there by the hair, and only then will she come to her senses. Bhagavati replies that she cannot now do anything else, since she has already taken the vow and cannot change her commitment. Sugriva returns and reports that this is exactly what she said.

How was Dhumralochana destroyed?

Angered at being refused, Shumbha's brother sends the messenger Dhumralochana, who appears as a smoke-like body and moves to seize Bhagavati by force when she again refuses to come. Tantra texts give two versions: that her lion Kesari (himself held to be a direct form of Dharmaraja, of Shiva and Vishnu) roared and destroyed Dhumralochana's army, or that Bhagavati herself gave the roar — and by the sound of that hunkar alone, Dhumralochana was burnt to ash.

Hearing Sugriva's report, Shumbha and Nishumbha's ego is hurt that a woman should show such pride toward them, and they send Dhumralochana. He appears with a smoke-like body, manifesting wherever he wishes, and tells Bhagavati she has been summoned by his master. She again refuses to go, and when threats fail to move her, he lunges forward to seize her. The speaker notes that tantra texts carry two versions here, both accepted according to the practice being used: that her lion Kesari — himself regarded as a direct form of Dharmaraja, and as a form of Shiva and Vishnu — gave a hunkar (roar) whose thunder destroyed Dhumralochana's army, or that Bhagavati herself gave the roar. By the sound of that hunkar alone, Dhumralochana was burnt to ash.

Why does precise mantra uccharan matter more than fast recitation?

The speaker draws from Dhumralochana's destruction the teaching that precise mantra uccharan (pronunciation) is extremely necessary: people who rattle off hoon-hoon phat-phat without ever learning where the hunkar's hoon, where the makar, and where the anhakar belong, and without knowing whether a given syllable is read with anusvara or with makar, run into trouble precisely because that precision was never learned.

From this episode the speaker draws a direct teaching: it is said that mantra uccharan (the precise pronunciation of a mantra) is extremely necessary. When we rattle off hoon-hoon phat-phat, reading mantras anywhere without ever having learned or heard them properly, that is exactly where the trouble arises. In which place the hoon of the hunkar belongs, where the makar belongs, where the anhakar belongs; whether a given syllable is to be read with anusvara or with makar — knowing this, he says, is extremely necessary. Bhagavati, he reminds the listener, destroyed Dhumralochana by the hunkar alone, burning him to nothing.

A devi of bones alone from Kaushiki's forehead, gnashing her teeth and chewing whole chariots, elephants and horses

Learning of Dhumralochana's death, Shumbha and Nishumbha at once send Chanda and Munda. On seeing them, a devi emerges from Bhagavati Kaushiki's forehead — a body of bones alone, covered only by skin and a thin layer of flesh, extremely fearsome, gnashing her teeth, her tongue hanging far out. The instant she appears she falls upon Chanda and Munda's army, killing so ferociously — seizing entire chariots and chewing them, chewing elephants and horses whole — that the terrified army is routed and flees.

As soon as Shumbha and Nishumbha learn of Dhumralochana's death, they at once send Chanda and Munda. On seeing them, a devi emerges from Bhagavati Kaushiki's forehead — her body was bones alone, covered only by skin, with just a thin layer of flesh over it, extremely thin and gaunt. She looked utterly fearsome, gnashing her teeth; she was very large, with her tongue hanging far out of her mouth — an altogether dreadful form. The instant she appeared, she fell upon Chanda and Munda's army. She began killing the danavas so forcefully and so fiercely that their condition grew terrible and fear spread through them — the speaker notes that on a battlefield, when soldiers see others being struck down with such savage speed, fear spreads through the rest of the army too. This devi was seizing whole chariots in her mouth and devouring them, chewing elephants and horses outright. The carnage was so dreadful that Chanda and Munda's army was shattered and began to flee.

How were Chanda and Munda slain, and how did Chamunda get her name?

When Chanda and Munda themselves came forward to fight, the devi bound and beheaded both of them, then carried their heads to angered Bhagavati Kaushiki and offered them, asking her to accept the heads of these two great beasts and herself go on to slay Shumbha and Nishumbha. Pleased, Kaushiki told the devi that because she had slain Chanda and Munda, her name would henceforth be famed everywhere as Chamunda — and it is this same form of Chamunda whose swarup is worshipped today in Sandhi Puja.

When Chanda and Munda came forward themselves to fight, the devi bound both of them and cut off their heads. Carrying the heads, she went to Bhagavati Kaushiki, who was filled with wrath, and offered them, saying: O Bhagavati, O Kaushiki, accept the heads of these two great beasts, Chanda and Munda, and yourself go on to slay Shumbha and Nishumbha. Bhagavati Kaushiki, pleased, told the devi that because she had killed Chanda and Munda, her name would henceforth be Chamunda, famed and pervasive everywhere. It is this same swarup of Bhagavati Chamunda, the speaker says, whose form we all worship today in this Sandhi Puja.

A war with Chanda and Munda, and countless akshauhini armies, finished inside a window of 25 to 45 minutes

Tantra texts hold that Chamunda's time of manifestation is this same Sandhi Kaal, and that the Sandhi Kaal itself is very brief — by today's reckoning, some 25 to 45 minutes. She finished the entire war with Chanda and Munda within that short window; elders of the guru parampara describe her as having cleared countless akshauhini armies (a vast, many-crore-strong reckoning) in that same brief span, which is why the speaker calls the prayoga he is about to teach an extremely swift and highly effective one.

This, the speaker says, is why Chamunda is so ugra and so tivra: tantra texts hold that her time of manifestation is this very Sandhi Kaal, the same period in which she appeared in the story. And the Sandhi Kaal itself is a very short span — by today's reckoning, the period during which Sandhi Kaal worship is performed runs from about 25 minutes to a maximum of 45 minutes. She finished the entire war with Chanda and Munda within that short Sandhi Kaal. It is said, he notes, by the elder, highly experienced tantriks of the guru parampara that in that same brief span Bhagavati cleared away countless akshauhini armies — an akshauhini being a reckoning he says runs into many crores — so swift and so intense was she. This, he says, is exactly why the prayoga being taught today is an extremely swift, excellent, and beneficial one.

Must one have kept the full Navratri vrat to perform the Chamunda bali vidhan?

The speaker says it is not necessary that this vidhi be performed only by someone who has kept a Navratri vrat. Someone who has not kept the Navratri vrat, and is only observing a fast on Ashtami, can still perform this vidhan.

Turning to the vidhi itself, the speaker says the first thing to know is that it is not necessary that only someone who has kept a vrat through Navratri may perform this vidhi. Someone who has not kept the Navratri vrat, and is only observing a fast on Ashtami alone, can still perform this vidhan.

One long banana leaf, 11 chaumukh and 3 single-wick diyas with mauli-bound paired wicks in pure mustard oil, and 13 each of coconut, lemon and camphor with 26 cloves

The listed materials are a long, large banana leaf; 11 chaumukh (four-wick) diyas plus 3 single-wick diyas, each wick a paired cotton wick bound with red mauli/kalava thread; pure mustard oil in all of them (preferred over til oil, which is often adulterated, though pure ghee may also be used); at least 13 coconuts (more than 11), 13 lemons, 13 pieces of camphor, and 26 phool-wale cloves.

Asked what samagri is needed, the speaker lists: one long, large banana leaf. After that, 11 chaumukh (four-faced) diyas and 3 single-mouthed diyas — in every diya, a cotton wick (rooi ki baati), and in each a red kalava thread is wound around it so that two wicks are joined into a single paired wick (jodha baati), made two-by-two in this fashion. All of them are to hold only mustard oil — pure sarson ka tel. Til (sesame) oil, he cautions, is often heavily adulterated; pure ghee can be used instead if one wishes, but mustard oil remains best of all, because this vidhan is being performed for the destruction of an enemy and hostile thought (shatru-naash, vichar-naash). After that, at least 11 coconuts are needed, though more than 11 — at minimum 13 — should be kept. Along with 13 coconuts, keep 13 lemons, 13 pieces of camphor, and 26 phool-wale cloves. This, he says, is the full list of material required.

Red vastra worn after bathing before Sandhi Kaal, a woman undertaking it only if her son is 12 or older, and the bali itself better offered by a male member

After bathing, red-coloured clothing is worn before Sandhi Kaal begins. Asked whether women may perform this, the speaker says a woman may do so only if her son is at least 12 years old, and, where possible, it is best to have her son or husband carry out the actual bali offering itself — she can do everything else, but it is better if the bali (offering) portion is done by a male member of the household.

After bathing, the speaker says, red-coloured clothing is worn before the Sandhi Kaal begins. He then addresses a question directly: can women perform this vidhan? He says a woman should undertake this prayoga only if her son is at least 12 years old. Where it is possible, this prayoga can be carried out through one's son, or through one's husband — specifically the bali portion of it. A woman can do everything else herself, he says, but it is better if the actual bali vidhan, the offering itself, is performed by a male member of the household.

Bhagavati Durga invoked as Jatved Agni into one single-wick diya, which becomes the karma-sakshi from which every other lamp is lit

First, one of the three single-mouthed diyas is lit while invoking Bhagavati Durga in the form of Jatved Agni into that flame, addressing her directly to come and become present in that lamp. That becomes the karma-sakshi (witness) diya from which every other lamp is lit; all the chaumukh diyas are then given four paired wicks each, bound in red mauli thread, and filled with mustard oil.

First, one of the three single-mouthed diyas is lit, and into it Bhagavati Durga is invoked in the form of Jatved (fire) — addressed as: O Bhagavati Jatved, come in the form of Agni and become lit, become present, in this lamp. That lamp becomes the karma-sakshi (witness of the ritual act) diya, and every remaining lamp is lit from it alone. Each of the chaumukh diyas carries four wicks, all paired — two wicks joined into one, one strand being cotton (rooi) and the other wrapped with red mauli thread, so the pairing produces both a doubled wick and a red thread, and it also burns better. All of them are filled with mustard oil.

Name, gotra and place pronounced over akshat, flowers, water and dakshina, for the destruction of every enemy and every scheme worked against one

Holding akshat, flowers, water and dakshina, the sadhak states name, gotra and place, and takes the sankalp that today, in Sandhi Kaal, worship of Bhagavati Chamunda is being undertaken as far as one's ability and knowledge of the vidhi allow, and with whatever means are available, for the complete destruction of all one's enemies, of any tantra vichar being worked by them, and of every scheme being plotted for one's harm. The akshat and flowers are then offered at Bhagavati's feet.

Then, holding AkshatUnbroken raw rice grains, held in hand along with water and flowers while taking a Sankalpa., flowers, water and dakshina in hand, the SankalpaA formal ritual resolution spoken aloud before an offering or observance, declaring its intent and dedicating its merit. is taken — pronouncing one's own name, GotraA family's patrilineal lineage name, stated together with one's own name during a Sankalpa., and place — that: for the complete destruction of all my enemies, of any tantra vichar being worked against me by enemies, of whatever schemes are being plotted for my harm, I today, in Sandhi Kaal, take the sankalp to worship Bhagavati Chamunda to the best of my ability and knowledge of the vidhi, and with whatever means and materials are available to me. Saying this, the akshat and flowers are offered at Bhagavati's feet.

Eleven diyas in a row before the banana leaf — nine in the middle for Chamunda's forms, Hanuman on the left, Batuk Bhairav lit last on the right

From the Jatved Durga lamp, the first chaumukh diya is lit in the name of one's guru, and the second single-mouthed diya in the name of Ganpati. Nine chaumukh diyas are then arranged in a row before the banana leaf, standing for Chamunda's nine forms (Navdurga); a diya on the sitter's left is lit for Hanuman, and the final diya on the right for Batuk Bhairav. The lighting order is: guru and Ganpati first, then Hanuman, then the middle nine, and Batuk Bhairav last of all.

From the lamp already lit for Jatved Durga, the first diya is lit in the name of one's own Guru. The second diya, the other single-mouthed one, is lit in the name of Ganesha. The nine chaumukh diyas that have been arranged are placed in a row in front of the banana leaf; along with the two remaining chaumukh diyas, eleven diyas are set out in a line — nine in the middle and two at the two ends. The middle nine diyas together represent Bhagavati Chamunda's nine forms (Navdurga). Of the remaining two, whichever sits on the worshipper's left is lit in the name of Hanuman, and the very last one on the right in the name of Batuk Bhairava. So the lighting order is: first the guru-and-Ganpati diyas, then the Hanuman diya, then the middle nine diyas of Bhagavati's names, and last of all, the Batuk Bhairav diya.

One coconut and one lemon set before every single diya, all sprinkled with Gangajal and given a red sindoor tilak

One coconut is placed before every diya — guru, Ganpati, Hanuman, Batuk Bhairav and each of the nine Navdurga lamps alike. Gangajal is then sprinkled on all of them, a beautiful red sindoor tilak is applied to all, and one lemon is set before each as well.

One coconut is placed in front of every single diya — before the guru and Ganpati diyas, before Hanuman and Bhairav's diyas, and before each of the nine diyas standing for the nine forms of Navdurga alike. Gangajal is sprinkled on all of them, a beautifully applied red SindoorVermilion powder, used here to draw the inverted triangle Mandala for a Bhairava offering, in place of the Roli-and-Ashtagandha triangle drawn for a Goddess. tilak is put on all, and one lemon is placed in front of each diya as well — coconut and lemon set before every single lamp.

The Devi Suktam, the same recitation that first invoked Kaushiki, read holding akshat and flowers before any bali is offered

Holding akshat and flowers, the Devi Suktam is recited — the speaker notes this is the very recitation through which Bhagavati Kaushiki was originally invoked and made to appear, and it must be read in Sandhi Puja before the bali is offered. After the path, the flowers are offered to Jagdamba, and only then does the bali begin.

Holding akshat and flowers, the Devi Suktam is now recited. The speaker notes that it was by the recitation of the Devi Suktam that Bhagavati Kaushiki was originally invoked and made to appear in the story recounted earlier — and it is this same Devi Suktam that must be recited in Sandhi Puja, before the bali is offered. After the Devi Suktam is read, the flowers are offered to Jagdamba, and only after that offering does the bali begin.

Every coconut offered first in the lamps' own order, then the lemons cut standing upright, roli applied and water dropped three times from an achamani

All the coconuts are offered first, in the same order as the lamps — guru, then Ganpati, then Hanuman, then the nine Navdurga forms, then Batuk Bhairav last. After every coconut has been offered, the lemons are cut — standing upright, not sideways — with roli applied after each cut and water poured over it from an achamani three times near each lemon. That completes the bali pujan.

The bali begins with all the coconuts — every coconut present is offered first. Once all the coconuts have been offered, the order stays the same as for the lamps: first the guru's coconut, then Ganpati's, then Hanuman's, then the nine Durga forms, and last of all Batuk Bhairav's. After that the Nimbu Bali are cut — cut standing upright, not lying flat. As each lemon is cut, RoliA red vermilion powder applied to ritual offerings such as the lemons in a sacrificial Bali, before they are circled with water and offered. is applied to it, and water is poured over it from a jal-achamani, dropping a little water near each lemon three times over. In this way, the bali pujan is brought to completion.

Camphor with two cloves burnt at every diya, then aarti and a kshama prarthana; lemons immersed under a sacred tree or in a river, coconuts eaten only within the household

After the bali is complete, any stuti or path to Bhagavati may optionally be recited, followed by the aarti and then a kshama prarthana (prayer for forgiveness). Every lemon offered in the bali is afterward immersed under a sacred tree or in a river; the coconuts, by contrast, are eaten only by members of the household — never by outsiders. Just before the aarti, one camphor and two phool-wale cloves are placed before each lamp and lit as well.

Once the bali is complete, the speaker says, one may now recite any stuti or path to Bhagavati if one wishes, and after that the aarti is performed. Following the aarti, a kshama prarthana (a prayer asking forgiveness for any lapse) is offered. Whatever lemons were offered in the bali puja must afterward be immersed either under a sacred tree or in a river. The coconuts, however, are to be eaten only by the members of the household — people outside the family should not eat them. Along with this, just before the puja is brought to completion, and before the aarti, one piece of camphor is placed in front of every diya, with two phool-wale cloves placed on it, and these too are lit — only after that is the aarti performed.

What dosha attaches when a vidhi is performed after hearing it from someone else?

The speaker closes with a caution: whenever a vidhi or puja is performed after hearing it from someone else — whether from him or from any other source — a rin dosha (debt-fault) attaches on that account. For release from that dosha, a lamp must always be lit before Bhagavati, and if one wishes, some dan-dakshina may also be offered out of one's own free will.

The speaker closes with a small request and a caution. Whatever vidhi you perform after hearing it from someone else — from him or from any other source — carries a Dosha: a rin dosha, a debt-fault, attaches to it on that account. For release (mukti) from that dosha, he says, a lamp must always be lit before Bhagavati. And if one wishes, out of one's own happiness, some dan-dakshina may also be offered.