.

Bagalamukhi

45.1. Just as Dhumavati, Bagalamukhi or Bagala is not well known outside the Mahavidya
cult. She however is mentioned in myths associated with Shiva and Vishnu. These myths
belong to recent centuries. The exact origins of her name are not certain. Some say;
Bagala is derived from the Sanskrit term Valga meaning to control; and she was
originally known as Valgamukhi. That was meant to signify that she had that power in her
face which could capture or control or even paralyze her opponents. It is also said that
Bagalamukhi means the goddess with the face of a crane (Baka). The crane with its ability

to stand still attracts its prey, lures it into a false sense of safety and then snaps it up
quickly. Bagalamukhis strength is said to be her magical attraction, to immobilize and
strike the enemy.
But, none of her iconographic descriptions makes a mention her having a crane head.
Bagalamukhi is portrayed as a woman of immense beauty who can transfix anyone.
Perhaps her assumed association with crane was merely to highlight her deceitful trait. It
is explained; a secret desire to kill resides in hearts of all beings. That concealed desire
might many times influence our actions. Bagalamukhi, like the gentle faced crane the
most deceitful of all- personifies that hidden desire to kill.
Elsewhere it is said, she has the head of a duck and the nose of a parrot, signifying her
ability to grant vak-siddhi, the power to make everything one utters come true.
46.1. Bagalamukhi is often called Pitambari or Pitambari Devi, the one who wears yellow
clothes. Her Dhyana sloka graphically portrays her preference to yellow color. Her
complexion, clothing, ornaments and garlands are in varying shades of yellow. Her
devotees are dressed in yellow, wear mala strings of turmeric (haldi) and offer her yellow
things. Even her temples are painted yellow. Bright yellow is usually associated with sun
and gold. But, in the context of Bagalamukhi the significance of her preference for yellow
has not been explained. Further, in her pictorial representations, Bagalamukhi is usually
shown wearing red or orange; and not much of yellow.
46.2. The one other name of Bagalamukhi is Brahmastra Roopini meaning that she exercises
her magical powers of delusion (bhrama) as a weapon (astra) to confuse and confound.
With that she makes everything look like its opposite. She turns speech into silence,
knowledge into ignorance, power into impotence, and defeat into victory. It is explained;
she represents the knowledge whereby each thing must in time become its opposite. To see
the failure hidden in success, the death hidden in life or the joy hidden in sorrow is the way
of understanding her reality. Bagalamukhi is the secret presence of the opposites wherein
each thing is dissolved back into its un-manifest state.
Bagalamukhi is also said to bestow the power of attracting others and infuse in them sexual
desire.
46.3. More than any other Mahavidya, Bagalamukhi is associated with magical powers. ,
which sometimes are termed Siddhi or attainments. A particular Siddhi of Bagalamukhi is
her magical power of Stambhana the power to transfix, immobilize or paralyze a person
into silence. An explanation based in yoga interprets Stambhana as the control over the
vital-breaths (prana); and states thatBagalamukhi exercises control over the vital breaths;
she enables one to conquer the tongue, which means self-control over greed, speech and
taste.
Thus, Bagalamukhi , just as the other Mahavidyas , displays both negative and positive
virtues.

47.1. The Bagalamukhi iconography presents her as goddess with a golden complexion
dressed in yellow. She sits in a golden throne in the midst of an ocean of nectar full of
lotuses. A crescent moon adorns her head. She is decked with gems and Champaka
blossoms.

47.2. The Dwi-Bhuja (with two arms) depiction is Soumya or milder. Her complexion is
golden. She is elegantly attired and bejeweled. She holds a club in her right hand with
which she beats a demon, while pulling his tongue out with her left hand. This image is
sometimes interpreted as an exhibition of stambhana, the power to stun or paralyze an
enemy into silence. This is one of the boons for which Bagalamukhis devotees worship her.

47.3. In her Chaturbhuja (four armed) form, according to the Sri Tatwanidhi, she sits upon
a golden throne. She is of yellow complexion and is three-eyed. In her four hands she holds
a trident, a cup, a mace and the tongue of the demon. With her right hand she strikes him
on his head. She has the features of a beautiful woman. She is adorned with garlands and
ornaments. Bagala symbolizes cessation of all dualities or dwandas, at the realization of
which pure consciousness emerges.

47.4. Another depiction presents Bagalamukhi as sitting upon a supine corpse laid out on
her throne. She wears a diadem, a nose ring, and a garland; she rests her right foot on a
lotus flower, and her bent left foot ankle on her right lower thigh; pulls the tongue of the
male by her left hand and holds aloft a club by the raised right hand ready to strike.
48.1. Bagalamukhi is related to Mahavidya Tara, as both are goddesses of speech.
Bagalamukhi represents the power of speech that stuns others and leaves them gasping for
words. Therefore she is invoked for granting success in debates and bargains.
48.2. Bagalamukhi wrenching the tongue of the demon is symbolic of removing the
impurities associated with speech and tongue. The tongue is the organ of speech and taste.
And, often it is involved in telling lies or concealing the truth. The tongue therefore could
unwittingly get caught up with mischief, vanity and deceit. The pulling of the tongue is a
symbolic act of punishing the demon and cleansing his impurities.
48.3. Bagalamukhi sitting upon a corpse while pulling the tongue of the enemy is
interpreted in many ways. The corpse stands for inert or static matter, as also for
ignorance. The death of the flesh also means liberation of the spirit. A corpse is therefore a
symbol of death and a new beginning for the spirit. Shiva as Shava (corpse) under the feet
of Kali is a inert potent life that is just about to wake up to new life. The other Mahavidyas
Kali and Tara- also sit or stand upon corpse. Chinnamasta and Dhumavati too are
associated with corpse and cremation grounds.

48.4. The image of Bagalamukhi sitting upon a corpse is also said to be associated with the
extreme tantric ritual of Shava-sadhana. It is a ritual where the adept (sadhaka) sits upon
the chest of a fresh corpse at the dead of the night in middle of cremation ground and tries
to overcome or control the dead persons preta (spirit).Through that he hopes to gain
magical powers.The esoteric view of this tantric ritual is that it transforms the aspirant,
awakening in him or her to an expanded consciousness; and grants him a new identity.

Shivasysa Dayitam Shuddham Kamakhyam Kamaroopi

Om Hleem Sarva Dusthaanaam Vaacham Mukham Paadam s

tambhaya jihvyamkilaya
buddhim vinaashaya Hleem Om Swaha"