Difference between revisions of "Yakshini"
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Description | Description | ||
| − | A [[yakshini]] is the {{Wiki|female}} counterpart of the male [[yaksha]], and they both attend to [[Kubera]], the [[Hindu]] [[god of wealth]] who rules in the [[mythical]] [[Himalayan]] kingdom of Alaka. They both look after [[treasure]] [[hidden]] in the [[earth]] and resemble that of fairies. Yakshinis are often depicted as [[beautiful]] and voluptuous, with wide hips, narrow waists, broad shoulders, and exaggerated, spherical breasts. In the Uddamareshvara [[Tantra]], thirty-six yakshinis are described, including their [[mantras]] and [[ritual]] prescriptions. A similar list of [[yakshas]] and yakshinis is given in the | + | A [[yakshini]] is the {{Wiki|female}} counterpart of the male [[yaksha]], and they both attend to [[Kubera]], the [[Hindu]] [[god of wealth]] who rules in the [[mythical]] [[Himalayan]] kingdom of Alaka. They both look after [[treasure]] [[hidden]] in the [[earth]] and resemble that of fairies. [[Yakshinis]] are often depicted as [[beautiful]] and voluptuous, with wide hips, narrow waists, broad shoulders, and exaggerated, spherical breasts. In the Uddamareshvara [[Tantra]], thirty-six [[yakshinis]] are described, including their [[mantras]] and [[ritual]] prescriptions. A similar list of [[yakshas]] and [[yakshinis]] is given in the [[Tantraraja Tantra]], where it says that these [[beings]] are givers of whatever is [[desired]]. Although [[Yakshinis]] are usually benevolent, there are also [[yakshinis]] with [[malevolent]] characteristics in [[Indian]] folklore. |
The list of thirty-six yakshinis given in the Uddamareshvara [[Tantra]] is as follows: | The list of thirty-six yakshinis given in the Uddamareshvara [[Tantra]] is as follows: | ||
| − | Vichitra (The [[Lovely]] One) | + | [[Vichitra]] (The [[Lovely]] One) |
| − | Vibhrama (Amorous One) | + | [[Vibhrama]] (Amorous One) |
| − | Hamsi (Swan) | + | [[Hamsi]] (Swan) |
| − | Bhishani (Terrifying), | + | [[Bhishani]] (Terrifying), |
| − | Janaranjika (Delighting Men) | + | [[Janaranjika]] (Delighting Men) |
| − | Vishala (Large Eyed) | + | [[Vishala]] (Large Eyed) |
| − | Madana ([[Lustful]]) | + | [[Madana]] ([[Lustful]]) |
[[Ghanta]] ([[Bell]]) | [[Ghanta]] ([[Bell]]) | ||
| − | Kalakarni (Ears Adorned with Kalas) | + | [[Kalakarni]] (Ears Adorned with Kalas) |
| − | Mahabhaya (Greatly Fearful) | + | [[Mahabhaya]] (Greatly Fearful) |
| − | Mahendri (Greatly Powerful) | + | [[Mahendri]] (Greatly Powerful) |
| − | Shankhini ([[Conch]] Girl) | + | [[Shankhini]] ([[Conch]] Girl) |
| − | Chandri ([[Moon]] Girl) | + | [[Chandri]] ([[Moon]] Girl) |
| − | Shmashana ([[Cremation]] Ground Girl) | + | [[Shmashana]] ([[Cremation]] Ground Girl) |
| − | Vatayakshini, [[Mekhala]] ([[Love]] Girdle) | + | [[Vatayakshini]], [[Mekhala]] ([[Love]] Girdle) |
| − | Vikala, Lakshmi ([[Wealth]]) | + | [[Vikala]], [[Lakshmi]] ([[Wealth]]) |
[[File:Reserve_bank_of_India_Headquarters.jpg|thumb|250px|]] | [[File:Reserve_bank_of_India_Headquarters.jpg|thumb|250px|]] | ||
| − | Malini ([[Flower]] Girl) | + | [[Malini]] ([[Flower]] Girl) |
| − | Shatapatrika (100 Flowers) | + | [[Shatapatrika]] (100 Flowers) |
| − | Sulochana ([[Lovely]] Eyed) | + | [[Sulochana]] ([[Lovely]] Eyed) |
| − | Shobha | + | [[Shobha]] |
| − | Kapalini (Skull Girl) | + | [[Kapalini]] (Skull Girl) |
| − | Varayakshini | + | [[Varayakshini]] |
| − | Nati (Actress) | + | [[Nati]] (Actress) |
| − | Kameshvari | + | [[Kameshvari]] |
Unknown | Unknown | ||
Unknown | Unknown | ||
| − | Manohara (Fascinating) | + | [[Manohara]] (Fascinating) |
| − | Pramoda (Fragrant) | + | [[Pramoda]] (Fragrant) |
| − | Anuragini (Very [[Passionate]]) | + | [[Anuragini]] (Very [[Passionate]]) |
| − | Nakhakeshi | + | [[Nakhakeshi]] |
| − | Bhamini | + | [[Bhamini]] |
| − | Padmini | + | [[Padmini]] |
Svarnavati | Svarnavati | ||
Ratipriya (Fond of [[Love]]) | Ratipriya (Fond of [[Love]]) | ||
| Line 47: | Line 47: | ||
Early figures | Early figures | ||
| − | The three sites of Bharhut, [[Sanchi]], and Mathura, have yielded huge numbers of Yakshi figures, most commonly on the railing pillars of [[stupas]]. These show a clear development and progression that establishes certain characteristics of the Yakshi figure such as her [[nudity]], smiling face and evident (often exaggerated) feminine charms that lead to their association with fertility. The yakshi is usually shown with her hand touching a [[tree]] branch, and a sinuous pose, [[Sanskrit]] tribhanga, thus some authors hold that the young girl at the foot of the [[tree]] is based on an ancient [[tree]] [[deity]]. | + | The three sites of Bharhut, [[Sanchi]], and Mathura, have yielded huge numbers of Yakshi figures, most commonly on the railing pillars of [[stupas]]. These show a clear development and progression that establishes certain characteristics of the Yakshi figure such as her [[nudity]], smiling face and evident (often exaggerated) feminine charms that lead to their association with fertility. The [[yakshi]] is usually shown with her hand touching a [[tree]] branch, and a sinuous pose, [[Sanskrit]] tribhanga, thus some authors hold that the young girl at the foot of the [[tree]] is based on an ancient [[tree]] [[deity]]. |
[[File:Ellora_cave34_001.jpg|thumb|250px|]] | [[File:Ellora_cave34_001.jpg|thumb|250px|]] | ||
| − | The [[ashoka]] [[tree]] is closely associated with the [[yakshini]] [[mythological]] [[beings]]. One of the recurring [[elements]] in [[Indian]] art, often found at gates of [[Buddhist]] and {{Wiki|Hindu temples}}, is a Yakshi with her foot on the trunk and her hands [[holding]] the branch of a stylized flowering [[ashoka]] or, less frequently, other [[tree]] with flowers or [[fruits]]. As an artistic [[element]], often the [[tree]] and the Yakshi are [[subject]] to heavy stylization. | + | The [[ashoka]] [[tree]] is closely associated with the [[yakshini]] [[mythological]] [[beings]]. One of the recurring [[elements]] in [[Indian]] art, often found at gates of [[Buddhist]] and {{Wiki|Hindu temples}}, is a [[Yakshi]] with her foot on the trunk and her hands [[holding]] the branch of a stylized flowering [[ashoka]] or, less frequently, other [[tree]] with flowers or [[fruits]]. As an artistic [[element]], often the [[tree]] and the Yakshi are [[subject]] to heavy stylization. |
| − | Some authors hold that the young girl at the foot of the [[tree]] is based on an ancient fertility [[symbol]] of the [[Indian]] Subcontinent. Yakshis were important in early [[Buddhist]] monuments as a decorative [[element]] and are found in many ancient [[Buddhist]] archaeological sites. They became Salabhanjikas ([[sal]] [[tree]] maidens) with the passing of the centuries, a [[standard]] decorative [[element]] of both [[Indian]] sculpture and [[Indian]] [[temple]] architecture. | + | Some authors hold that the young girl at the foot of the [[tree]] is based on an ancient fertility [[symbol]] of the [[Indian]] Subcontinent. Yakshis were important in early [[Buddhist]] monuments as a decorative [[element]] and are found in many ancient [[Buddhist]] archaeological sites. They became [[Salabhanjikas]] ([[sal]] [[tree]] maidens) with the passing of the centuries, a [[standard]] decorative [[element]] of both [[Indian]] sculpture and [[Indian]] [[temple]] architecture. |
The [[sal]] [[tree]] (Shorea robusta) is often confused with the [[ashoka]] [[tree]] (Saraca indica) in the ancient {{Wiki|literature}} of the [[Indian]] Subcontinent. The position of the Salabhanjika is also related to the position of {{Wiki|Queen}} [[Māyā]] of [[Sakya]] when she gave [[birth]] to [[Gautama Buddha]] under an [[asoka]] [[tree]] in a garden in [[Lumbini]], while [[grasping]] its branch. | The [[sal]] [[tree]] (Shorea robusta) is often confused with the [[ashoka]] [[tree]] (Saraca indica) in the ancient {{Wiki|literature}} of the [[Indian]] Subcontinent. The position of the Salabhanjika is also related to the position of {{Wiki|Queen}} [[Māyā]] of [[Sakya]] when she gave [[birth]] to [[Gautama Buddha]] under an [[asoka]] [[tree]] in a garden in [[Lumbini]], while [[grasping]] its branch. | ||
Revision as of 21:14, 4 September 2013
Yakshinis (Sanskrit: याक्षिणि, also called yaksinis or yaksis and yakkhini in Pali) are mythical beings of Hindu, Buddhist, and Jain mythology.
Description
A yakshini is the female counterpart of the male yaksha, and they both attend to Kubera, the Hindu god of wealth who rules in the mythical Himalayan kingdom of Alaka. They both look after treasure hidden in the earth and resemble that of fairies. Yakshinis are often depicted as beautiful and voluptuous, with wide hips, narrow waists, broad shoulders, and exaggerated, spherical breasts. In the Uddamareshvara Tantra, thirty-six yakshinis are described, including their mantras and ritual prescriptions. A similar list of yakshas and yakshinis is given in the Tantraraja Tantra, where it says that these beings are givers of whatever is desired. Although Yakshinis are usually benevolent, there are also yakshinis with malevolent characteristics in Indian folklore.
The list of thirty-six yakshinis given in the Uddamareshvara Tantra is as follows:
Vichitra (The Lovely One)
Vibhrama (Amorous One)
Hamsi (Swan)
Bhishani (Terrifying),
Janaranjika (Delighting Men)
Vishala (Large Eyed)
Madana (Lustful)
Ghanta (Bell)
Kalakarni (Ears Adorned with Kalas)
Mahabhaya (Greatly Fearful)
Mahendri (Greatly Powerful)
Shankhini (Conch Girl)
Chandri (Moon Girl)
Shmashana (Cremation Ground Girl)
Vatayakshini, Mekhala (Love Girdle)
Vikala, Lakshmi (Wealth)
Malini (Flower Girl)
Shatapatrika (100 Flowers)
Sulochana (Lovely Eyed)
Shobha
Kapalini (Skull Girl)
Varayakshini
Nati (Actress)
Kameshvari
Unknown
Unknown
Manohara (Fascinating)
Pramoda (Fragrant)
Anuragini (Very Passionate)
Nakhakeshi
Bhamini
Padmini
Svarnavati
Ratipriya (Fond of Love)
Early figures
The three sites of Bharhut, Sanchi, and Mathura, have yielded huge numbers of Yakshi figures, most commonly on the railing pillars of stupas. These show a clear development and progression that establishes certain characteristics of the Yakshi figure such as her nudity, smiling face and evident (often exaggerated) feminine charms that lead to their association with fertility. The yakshi is usually shown with her hand touching a tree branch, and a sinuous pose, Sanskrit tribhanga, thus some authors hold that the young girl at the foot of the tree is based on an ancient tree deity.
The ashoka tree is closely associated with the yakshini mythological beings. One of the recurring elements in Indian art, often found at gates of Buddhist and Hindu temples, is a Yakshi with her foot on the trunk and her hands holding the branch of a stylized flowering ashoka or, less frequently, other tree with flowers or fruits. As an artistic element, often the tree and the Yakshi are subject to heavy stylization.
Some authors hold that the young girl at the foot of the tree is based on an ancient fertility symbol of the Indian Subcontinent. Yakshis were important in early Buddhist monuments as a decorative element and are found in many ancient Buddhist archaeological sites. They became Salabhanjikas (sal tree maidens) with the passing of the centuries, a standard decorative element of both Indian sculpture and Indian temple architecture.
The sal tree (Shorea robusta) is often confused with the ashoka tree (Saraca indica) in the ancient literature of the Indian Subcontinent. The position of the Salabhanjika is also related to the position of Queen Māyā of Sakya when she gave birth to Gautama Buddha under an asoka tree in a garden in Lumbini, while grasping its branch.
Yakshis in Jainism
In Jainism, there are twenty-four yakshis, including Chakreshvari, Ambika, and Padmavati, who are frequently represented in Jain temples. The names according to Tiloyapannatti (or Pratishthasarasangraha) and Abhidhanachintamani are:
Chakreshvari
Rohini, Ajitbala
Prajnapti, Duritari
Vajrashrankhala, Kali
Vajrankusha, Mahakali
Manovega, Shyama
Kali, Shanta
Jwalamalini, Bhrikuti
Mahakali, Sutaraka
Manavi, Ashoka
Gauri, Manavi
Gandhari, Chanda
Vairoti, Vidita
Anantamati, Ankusha
Manasi, Kandarpa
Mahamansi, Nirvani
Jaya, Bala
Taradevi, Dharini
Vijaya, Dharanpriya
Aparajita, Nardatta
Bahurupini, Gandhari
Ambika or Kushmandini
Padmavati
Siddhayika
In South India, Yakshis are not considered benevolent beings. They are reputed to waylay men with their beauty and drink their blood.
One of the most famous legendary stories of Yakshis in Kerala is that of Kalliyankattu Neeli, a powerful demoness who was finally stopped by the legendary Christian priest Kadamattathu Kathanar. The Yakshi theme is the subject of popular Kerala tales, like the legend of the Yakshi of Trivandrum, as well as of certain movies in modern Malayalam cinema.
Mangalathu Chiruthevi
Another lesser known Yakshi is Mangalathu Chiruthevi also known as Kanjirottu Yakshi. She was born into a Padamangalathu Nair tharavad by name Mangalathu at Kanjiracode in South Travancore. She was a ravishingly beautiful courtesan who had an intimate relationship with Kunju Thampi, the rival of Marthanda Varma of Travancore.
Mangalathu Chiruthevi was infatuated with one of her servants, Kunjuraman. Kunjuraman, a Pondan Nair (palanquin-bearer), was a fair, tall, well-built and handsome young man. She and her brother Govindan used to ride on Kunjuraman's back to nearby places. Chiruthevi enjoyed torturing Kunjuraman physically and mentally. A predatory sadist, she derived immense pleasure from humiliating him, spanking him, making him carry unbearably heavy objects, burning his feet with hot metal rods and strangling him. She did everything possible to separate him from his wife.
In course of time, Govindan and Kunjuraman became bosom friends. Govindan often felt pity for his friend but could not assert himself. Chiruthevi was not quite comfortable with the growing fondness of her brother for her lover. But she did not act.
Chiruthevi hatched a plot and liquidated Kunjuraman's wife. Once Govindan was travelling on Kunjuraman's back when the former revealed the details of the plot. Days later, Kunjuraman strangled Chiruthevi to death when they were sharing a bed. Govindan winked at the crime and protected his beloved friend.
Chiruthevi was reborn as a vengeful Yakshi to a couple at Kanjiracode. She grew into a bewitching beauty within moments of her birth. Though she seduced many men and drank their blood, her heart was set on the handsome Kunjuraman. She told him that she was willing to pardon him if he married her. Kunjuraman flatly refused. The Yakshi channelised all her energies in tormenting him. Devastated, Kunjuraman approached Mangalathu Govindan for advice. Govindan was for a compromise. He said that the Yakshi could have Kunjuraman for a year provided she conformed to three conditions. One, she must agree to be installed at a temple after one year. Two, after many years the temple will be destroyed and she must then surrender (saranagati) to Lord Narasimha for attaining moksham. Three, she must pray for Govindan and his relationship with Kunjuraman not only in their current birth but also in their subsequent births. Both the parties agreed and the compromise worked.
A year later, the Yakshi was installed at a Temple which later came to be owned by Kanjiracottu Valiaveedu. The Temple does not exist anymore.
Sundara Lakshmi, an accomplished dancer and wife of HH Swathi Thirunal Rama Varma, was an ardent devotee of Kanjirottu Yakshi Amma.
After surrendering to Lord Narasimha of Thekkedom, the Yakshi is now believed to be in the Mahabharata Konathu Kallara of Sri Padmanabhaswamy Temple. The enchanting and ferocious forms of this Yakshi are painted on the south-west part of Sri Padmanabha's shrine.
Reserve Bank of India headquarters, Delhi entrance with a Yakshini sculpture(c. 1960) depicting "Prosperity through agriculture".
In popular culture
In Christopher Pike’s novel The Last Vampire, a yakshini is an extremely powerful and evil demon that led to the creation of the vampires around 3000 B.C. in what is now present-day Rajasthan, India. A yakshini was summoned by an Aghoran priest so that it could devour a rakshasa that was causing a plague. The yakshini was summoned into the corpse of a recently deceased woman who had been pregnant. It took control of the woman’s body, horribly maimed and killed the priest, and then appeared to disappear. The yakshini in fact transferred itself into the baby in the dead woman's womb which then begins to show signs of life. The child is freed from the dead woman's womb and grows up as an Aryan boy who is the first vampire.
