Embark on a mystical journey into the heart of devotion and ancient traditions. Immersed in the enchanting celebration of the divine feminine, where rituals come alive, and spirituality thrives. The vibrant festival that honors the sacred menstrual cycle of the goddess herself. The wonders of this extraordinary event embraces mysticism, spirituality, and the power of fertility leaves one enchanted.
The Ambubachi Mela is an annual Hindu festival held at Kamakhya Temple in Guwahati, Assam. This festival is held during the monsoon season, which falls in the Assamese month of Ahaar, in the middle of June, when the sun enters the Mithuna zodiac and the Brahmaputra River is at its highest flow. For three days during this period, the Brahmaputra River also glows red. The Ambubachi festival will be held between June 22 and June 25 this year.
The Ambubachi Mela celebrates the goddess Kamakhya's monthly menstrual cycle. Devi Kamakhya, the temple's presiding deity, is said to go through her menstrual cycle around this time each year. The 'menses' are also thought to have a creative and nurturing power during the rainy season.
Worship of Divine Female
The Kamakhya Temple is dedicated to the goddess Kamakhya, also known as Shakti or the divine feminine. The ancient Sanskrit text called the Kalika Purana describes Kamakhya as the fulfiller of desires, the young bride of Shiva, and the bestower of salvation. The temple is deeply rooted in Tantra, which forms the basis of worship within its sacred grounds.
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The worship of female deities in Assam represents a blend of Aryan and non-Aryan traditions. The various names associated with the goddess Kamakhya reflect the influence of local Aryan and non-Aryan goddesses. The Yogini Tantra mentions that the religious practices at the Yogini Pitha, including Kamakhya, have Kirata origins.
Traditionally, sacrifices were offered at the Kamakhya site, particularly by the Garo people who follow a matrilineal system. Today, the tradition of animal sacrifices continues, with devotees bringing animals and birds as offerings to the goddess. While flowers are the most common offerings, animal sacrifices are made during certain rituals and mass ceremonies, although female animals are generally exempt from sacrifice.
The worship at Kamakhya Temple encompasses both vamachara, which refers to the left-hand path of Tantra, and dakshinachara, the right-hand path of Tantra. The temple attracts devotees from diverse backgrounds, and its rituals and practices reflect the rich tapestry of beliefs and traditions associated with the worship of the divine feminine.
Legends of Kamakhya Temple
The Kamakhya Temple at Nilachal hills in Guwahati, Assam is one of the oldest and most revered centres of Tantric practices, dedicated to the goddess Kamakhya. The temple is the hub of the Kulachara Tantra Marga and the location of the yearly festival Ambubachi Mela, which honors the goddess' menstrual cycle. The temple's final hybrid construction, which dates to the 8th or 9th century and through numerous successive rebuildings, represents a regional architectural style known as Nilachal.
In the Shakta tradition, it is also one of the four oldest shakti piths out of 51. Previously a little-known centre of worship, it underwent significant development in the 19th century under colonial control.
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Originally an indigenous place of worship for a local deity, where the primary adoration of the aniconic yoni carved out of natural stone is still practiced today, the Kamakya Temple came to be associated with state power when the Pala, Koch, and Ahom dynasties, who came after the Mleccha dynasty of Kamarupa, became its first patrons.
The goddess Kamakhya, who stood in for the area and the Kamarupa kingdom, was linked to Naraka, the Kamarupa monarchs' legitimate ancestor, in the Kalika Purana, which was composed during the Pala era.
According to certain theories, the worship evolved historically in three stages: Yoni under the Mlechhas, Yogini under the Palas, and Mahavidyas under the Kochs. A complex of separate temples honouring each of the 10 Mahavidyas of Saktism, including Kali, Tara, Tripura Sundari, Bhuvaneshwari, Bhairavi, Chhinnamasta, Dhumavati, Bagalamukhi, Matangi, and Kamalatmika, surrounds the main temple.
Tripurasundari, Matangi, and Kamala are those who reside inside the main temple, while the other seven are housed in separate temples. It is unusual and uncommon to see temples for many Mahavidyas all in one place, as is the case in the complex.
History of Kamakhya Temple
The Kamakhya Temple is the location where Sati used to hide out to fulfil her amour with Shiva, according to the Kalika Purana. It was also the location where her yoni (genitalia, or womb), fell following Shiva's tandav (dance of destruction) with Sati's body. It mentions Kamakhya as one of the four main shakti peethas, the others being the Vimala Temple within the Jagannath Temple complex in Puri, Odisha, the Tara Tarini Sthana Khanda (Breasts), close to Brahmapur, Odisha and Dakhina Kalika in Kalighat, Kolkata, in the state of West Bengal, which also originated from the limbs of the corpse of Mata Sati.
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The Kamakhya Temple is believed to have been an ancient sacrificial site for the Khasi and Garo peoples. Historians suggest that the name "Kamakhya" originated from the Khasi goddess called "Ka Meikha," meaning "old-cousin-mother," which aligns with the folklores of these indigenous communities.
The temple's history can be traced back to ancient times. The earliest historical dynasty of Kamarupa, the Varmans (350–650), and the accounts of the 7th-century Chinese traveller Xuanzang do not mention Kamakhya. This indicates that the worship at the time was likely influenced by the Kirata culture, beyond the realm of Brahminical traditions.
The Hevajra Tantra, an ancient Buddhist tantric text, mentions Kamarupa as a sacred place. The first epigraphic evidence of the goddess Kamakhya is found in the 9th-century Tezpur plates. Art historians also suggest that the temple's lower strata and archaeological remains indicate an older structure, possibly dating back to the 5th to 7th century.
During the mediaeval period, the temple gained prominence under the Palas of Kamarupa, who followed Tantrik practices. The Kalika Purana, composed in the 10th century, further enhanced the temple's significance as a centre of Tantrik rituals, mysticism, and sorcery. The region also witnessed the rise of Vajrayana Buddhism, known as the "Sahajia cult," during the 10th century.
The temple faced destruction, possibly during Hussein Shah's invasion of the Kamata kingdom in 1498. It was later revived and reconstructed under the Koch dynasty. Vishwasingha, the founder of the Koch dynasty, discovered the ruins of the temple, and his son Nara Narayan completed the reconstruction in 1565. The Ahom rulers, who conquered Kamrup, further expanded and renovated the temple, incorporating their own architectural styles.
Under the patronage of the Ahom kings, the Kamakhya Temple became a prominent centre of worship. The Mahant of the Shakta sect, Krishnaram Bhattacharya, was invited to oversee the temple's affairs. The Mahant and his successors, known as Parbatiya Gosains, played a crucial role in the administration of the temple.
Ambubachi Mela
The Ambubachi Mela, which is also known as the Ameti or Tantric Fertility Festival, is a vibrant celebration deeply intertwined with the Tantric Shakti cult prevalent in the eastern parts of India. This four-day extravaganza attracts pilgrims from all walks of life, including renowned Tantric Babas who make their public appearances exclusively during this period. Throughout the rest of the year, these mystics remain in solitude, adding an air of mystique to the event. The festival showcases awe-inspiring displays of psychic powers, such as Babas putting their heads in pits and standing upright or maintaining a one-legged stance for hours on end.
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During the mela, the Kamakhya Temple remains closed for three days, symbolising the rest period of Goddess Kamakhya, akin to traditional women's menstrual isolation. Devotees observe certain restrictions, refraining from activities like cooking, performing puja, reading holy books, and farming. After three days, the Goddess is bathed and rituals are conducted to restore her purity. The temple doors are then joyously reopened, and prasad is distributed among the devotees. The prasad takes two forms: Angodak, the sacred fluid from the temple spring and Angabastra, a piece of red cloth representing the yoni rock fissure during menstruation.
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The Ambubachi Mela draws millions of pilgrims each year, ranging from Sadhus to householders, coming from all corners of India. The diverse gathering includes Sanyasis, black-clad Aghoris, the Khade-babas, the soul-stirring Baul minstrels from West Bengal, intellectual and folk Tantriks, as well as Sadhus and Sadhvis adorned with long matted hair. This grand festival also attracts curious foreigners from abroad who seek the blessings of Mother Kamakhya. With its profound blend of spirituality, mysticism, and cultural diversity, the Ambubachi Mela serves as a captivating tribute to sacred power and fertility, leaving a lasting impression on all who partake in its enchanting ambiance.
Conclusion
The Ambubachi Mela is an annual Hindu festival held at Kamakhya Temple in Guwahati, Assam, to celebrate the divine feminine. The temple is dedicated to the goddess Kamakhya, who is believed to go through her monthly menstrual cycle during this time. The festival takes place during the monsoon season when the Brahmaputra River is at its highest flow, and it lasts for three days.
The worship at Kamakhya Temple reflects a blend of Aryan and non-Aryan traditions and incorporates both left-hand and right-hand path of Tantra. The temple's rich history dates back to ancient times, and it has undergone various reconstructions and expansions.
The Ambubachi Mela attracts devotees from diverse backgrounds, including pilgrims, mystics, and foreigners, who come together to experience the spiritual and cultural diversity of the festival. With its emphasis on sacred power and fertility, the Ambubachi Mela leaves a profound impression on all who participate, making it a captivating tribute to the divine feminine.
Article written by:- Neha Bhattacharya
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