Kali is represented as a Black woman with four arms; in one hand she has a sword, in another the head of the demon she has slain, with the other two
she is encouraging her worshippers. For earrings she has two dead bodies and wears a necklace of skulls ; her only clothing is a girdle made of dead
men's hands, and her tongue protrudes from her mouth. Her eyes are red, and her face and breasts are besmeared with blood. She stands with one foot
on the thigh, and another on the breast of her husband.
Kali's fierce appearances have been the subject of extensive descriptions in several earlier and modern works. Though her fierce form is filled with
awe- inspiring symbols, their real meaning is not what it first appears- they have equivocal significance:
Kali's blackness symbolizes her all-embracing, comprehensive nature, because black is the color in which all other colors merge; black absorbs and
dissolves them. 'Just as all colors disappear in black, so all names and forms disappear in her' (Mahanirvana Tantra). Or black is said to represent
the total absence of color, again signifying the nature of Kali as ultimate reality. This in Sanskrit is named as nirguna (beyond all quality and
form). Either way, Kali's black color symbolizes her transcendence of all form.
A devotee poet says:
"Is Kali, my Divine Mother, of a black complexion?
She appears black because She is viewed from a distance;
but when intimately known She is no longer so.
The sky appears blue at a distance, but look at it close by
and you will find that it has no colour.
The water of the ocean looks blue at a distance,
but when you go near and take it in your hand,
you find that it is colourless."
... Ramakrishna Paramhansa (1836-86)
Kali's nudity has a similar meaning. In many instances she is described as garbed in space or sky clad. In her absolute, primordial nakedness she is
free from all covering of illusion. She is Nature (Prakriti in Sanskrit), stripped of 'clothes'. It symbolizes that she is completely beyond name
and form, completely beyond the illusory effects of maya (false consciousness). Her nudity is said to represent totally illumined consciousness,
unaffected by maya. Kali is the bright fire of truth, which cannot be hidden by the clothes of ignorance. Such truth simply burns them away.
She is full-breasted; her motherhood is a ceaseless creation. Her disheveled hair forms a curtain of illusion, the fabric of space - time which
organizes matter out of the chaotic sea of quantum-foam. Her garland of fifty human heads, each representing one of the fifty letters of the Sanskrit
alphabet, symbolizes the repository of knowledge and wisdom. She wears a girdle of severed human hands- hands that are the principal instruments of
work and so signify the action of karma. Thus the binding effects of this karma have been overcome, severed, as it were, by devotion to Kali. She has
blessed the devotee by cutting him free from the cycle of karma. Her white teeth are symbolic of purity (Sans. Sattva), and her lolling tongue which
is red dramatically depicts the fact that she consumes all things and denotes the act of tasting or enjoying what society regards as forbidden, i.e.
her indiscriminate enjoyment of all the world's "flavors".
Kali's four arms represent the complete circle of creation and destruction, which is contained within her. She represents the inherent creative and
destructive rhythms of the cosmos. Her right hands, making the mudras of "fear not" and conferring boons, represent the creative aspect of Kali,
while the left hands, holding a bloodied sword and a severed head represent her destructive aspect. The bloodied sword and severed head symbolize the
destruction of ignorance and the dawning of knowledge. The sword is the sword of knowledge, that cuts the knots of ignorance and destroys false
consciousness (the severed head). Kali opens the gates of freedom with this sword, having cut the eight bonds that bind human beings. Finally her
three eyes represent the sun, moon, and fire, with which she is able to observe the three modes of time: past, present and future. This attribute is
also the origin of the name Kali, which is the feminine form of 'Kala', the Sanskrit term for Time.
Another symbolic but controversial aspect of Kali is her proximity to the cremation ground:
O Kali, Thou art fond of cremation grounds;
so I have turned my heart into one
That thou, a resident of cremation grounds,
may dance there unceasingly.
O Mother! I have no other fond desire in my heart;
fire of a funeral pyre is burning there;
O Mother! I have preserved the ashes of dead bodies all around
that Thou may come.
O Mother! Keeping Shiva, conqueror of Death, under Thy feet,
Come, dancing to the tune of music;
Prasada waits With his eyes closed
... Ramprasad (1718-75)
Kali's dwelling place, the cremation ground denotes a place where the five elements (Sanskrit: pancha mahabhuta) are dissolved. Kali dwells where
dissolution takes place. In terms of devotion and worship, this denotes the dissolving of attachments, anger, lust, and other binding emotions,
feelings, and ideas. The heart of the devotee is where this burning takes place, and it is in the heart that Kali dwells. The devotee makes her image
in his heart and under her influence burns away all limitations and ignorance in the cremation fires. This inner cremation fire in the heart is the
fire of knowledge, (Sanskrit: gyanagni), which Kali bestows.
The image of a recumbent Shiva lying under the feet of Kali represents Shiva as the passive potential of creation and Kali as his Shakti. The generic
term Shakti denotes the Universal feminine creative principle and the energizing force behind all male divinity including Shiva. Shakti is known by
the general name Devi, from the root 'div', meaning to shine. She is the Shining One, who is given different names in different places and in
different appearances, as the symbol of the life-giving powers of the Universe. It is she that powers him. This Shakti is expressed as the i in
Shiva's name. Without this i, Shiva becomes Shva, which in Sanskrit means a corpse. Thus suggesting that without his Shakti, Shiva is powerless or
Kali is a particularly appropriate image for conveying the idea of the world as the play of the gods. The spontaneous, effortless, dizzying creativity
of the divine reflex is conveyed in her wild appearance. Insofar as kali is identified with the phenomenal world, she presents a picture of that world
that underlies its ephemeral and unpredictable nature. In her mad dancing, disheveled hair, and eerie howl there is made present the hint of a world
reeling, careening out of control. The world is created and destroyed in Kali's wild dancing, and the truth of redemption lies in man's awareness
that he is invited to take part in that dance, to yield to the frenzied beat of the Mother's dance of life and death.
O Kali, my Mother full of Bliss! Enchantress of the almighty Shiva!
In Thy delirious joy Thou dancest, clapping Thy hands together!
Thou art the Mover of all that move, and we are but Thy helpless toys
Kali and her attendants dance to rhythms pounded out by Shiva (Lord of destruction) and his animal-headed attendants who dwell in the Himalayas.
Associated with chaos and uncontrollable destruction, Kali's own retinue brandishes swords and holds aloft skull cups from which they drink the blood
that intoxicates them. Kali, like Shiva, has a third eye, but in all other respects the two are distinguished from one another. In contrast to
Shiva's sweet expression, plump body, and ash white complexion, dark kali's emaciated limbs, angular gestures, and fierce grimace convey a wild
intensity. Her loose hair, skull garland, and tiger wrap whip around her body as she stomps and claps to the rhythm of the dance.
Many stories describe Kali's dance with Shiva as one that "threatens to destroy the world" by its savage power. Art historian Stella Kramrisch has
noted that the image of kali dancing with Shiva follows closely the myth of the demon Daruka. When Shiva asks his wife Parvati to destroy this demon,
she enters Shiva's body and transforms herself from the poison that is stored in his throat. She emerges from Shiva as Kali, ferocious in appearance,
and with the help of her flesh eating retinue attacks and defeats the demon. Kali however became so intoxicated by the blood lust of battle that her
aroused fury and wild hunger threatened to destroy the whole world. She continued her ferocious rampage until Shiva manifested himself as an infant
and lay crying in the midst of the corpse-strewn field. Kali, deceived by Shiva's power of illusion, became calm as she suckled the baby. When
evening approached, Shiva performed the dance of creation (tandava) to please the goddess. Delighted with the dance, Kali and her attendants joined
This terrific and poignant imagery starkly reveals the nature of Kali as the Divine Mother. Ramaprasad expresses his feelings thus:
Behold my Mother playing with Shiva,
lost in an ecstasy of joy!
Drunk with a draught of celestial wine,
She reels, and yet does not fall.
Erect She stands on Shiva's bosom,
and the earth Trembles under Her tread;
She and Her Lord are mad with frenzy,
casting Aside all fear and shame.
... Ramprasad (1718-75)
Kali's human and maternal qualities continue to define the goddess for most of her devotees to this day. In human relationships, the love between
mother and child is usually considered the purest and strongest. In the same way, the love between the Mother Goddess and her human children is
considered the closest and tenderest relationship with divinity. Accordingly, Kali's devotees form a particularly intimate and loving bond with her.
But the devotee never forgets Kali's demonic, frightening aspects. He does not distort Kali's nature and the truths she reveals; he does not refuse
to meditate on her terrifying features. He mentions these repeatedly in his songs but is never put off or repelled by them. Kali may be frightening,
the mad, forgetful mistress of a world spinning out of control, but she is, after all, the Mother of all. As such, she must be accepted by her
children- accepted in wonder and awe, perhaps, but accepted nevertheless. The poet in an intimate and lighter tone addresses the Mother thus:
O Kali! Why dost Thou roam about nude?
Art Thou not ashamed, Mother!
Garb and ornaments Thou hast none;
yet Thou Pridest in being King's daughter.
O Mother! Is it a virtue of Thy family that Thou
Placest thy feet on Thy husband?
Thou art nude; Thy husband is nude; you both roam cremation grounds.
O Mother! We are all ashamed of you; do put on thy garb.
Thou hast cast away Thy necklace of jewels, Mother,
And worn a garland of human heads.
Prasada says, "Mother! Thy fierce beauty has frightened
Thy nude consort.
The soul that worships becomes always a little child: the soul that becomes a child finds God oftenest as mother. In a meditation before the Blessed
Sacrament, some pen has written the exquisite assurance: "My child, you need not know much in order to please Me. Only Love Me dearly. Speak to me,
as you would talk to your mother, if she had taken you in her arms."
Kali's boon is won when man confronts or accepts her and the realities she dramatically conveys to him. The image of Kali, in a variety of ways,
teaches man that pain, sorrow, decay, death, and destruction are not to be overcome or conquered by denying them or explaining them away. Pain and
sorrow are woven into the texture of man's life so thoroughly that to deny them is ultimately futile. For man to realize the fullness of his being,
for man to exploit his potential as a human being, he must finally accept this dimension of existence. Kali's boon is freedom, the freedom of the
child to revel in the moment, and it is won only after confrontation or acceptance of death. To ignore death, to pretend that one is physically
immortal, to pretend that one's ego is the center of things, is to provoke Kali's mocking laughter. To confront or accept death, on the contrary, is
to realize a mode of being that can delight and revel in the play of the gods. To accept one's mortality is to be able to let go, to be able to sing,
dance, and shout. Kali is Mother to her devotees not because she protects them from the way things really are but because she reveals to them their
mortality and thus releases them to act fully and freely, releases them from the incredible, binding web of "adult" pretense, practicality, and
Blessed be all,
As a follower of Khali, i know a great deal about these beings as my mentor has taught me about what they do and how they do it! They wosh us to stray
from the truth and kill ourselves ( if that doesn't succeed they try to possess you and take your life ).
THEY WISH US NOTHING GOOD! THEY WANT US OFF THE PATH THAT IS TRUTH!
They are the helpers of Daruka the daemon that wishes to destroy the human race!
However they can be stopped from entering your house:
1 Place your birthstone in bowl made of glass, crystal or metal ( these are the most conductive of positive energies ), pour water in to the bowl
until your bowl is two thirds full. ( Keep it at this level by refreshing the water daily )
2 Add to the water in the bowl, the estheric oil that appeals the most to you ( no more than 2 drops per 500 ml of water )
3 Ask a priest or other representative of your religion or belief to come and say a prayer of protection in your house while you sprinkle SEA SALT in
a circular motion around them
4 Hang a bundle of Smudge on the inside of the doorframe above your door to bar them entrance
I hope that these things help you fight them in your house, If they try to attack you outside the only thing that helps is having a necklace made of
silver with hanger on it containing your birthstone.