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Kubjikā Mātā
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Kubjika (Sanskrit: कुब्जिक Kubjikā, also known as Vakreśvarī, Vakrikā, Ciñciṇī) is the primary deity of Kubjikāmata, a sect of non-Siddhāntika mantra marga sect.[1] The worship of Kubjikā as one of the main aspect of Adishakti was in its peak in 12th century CE.[2] She is still praised in tantric practices that are followed in Kaula tradition.[3]

Etymology

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Kubjikā means "to crook" or "to curve" in Sanskrit. Once lord Navātman/ Shiva embraced his consort Vakrikā and before the copulation, she suddenly felt shy and bent her body earning the name, Kubjikā, "the hunchback one" or Vakrikā (crooked one).[4]

Worship

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Kubjikāmata Tantra

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A tantric text named the Kubjikāmata, dated to the ninth or tenth century, describes the worship of Kubjika. Though she was very famous among the tantric tradition of Kashmir Valley in the past, the Kubjikā cult was not familiar among the devotees. Though it seemed that Kubjikā was no longer worshipped in the valley either, in mid 1980s, she was discovered in a secret tantric worship that still exists among the Newar people, as preserved in the Sarvāmnāya Tantra system.[5]

Ciñciṇīmata Tantra

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According to the Ciñciṇīmata Tantra, a text that praises Kubjikā, Kaula tradition was taught to four disciples who were sent in the four directions. The disciple sent to the west founded the Western Stream (Pascimāmnaya) of Kaulism, the cult of Navātman and Kubjikā.[6] The eastern disciple created Purvāmnaya, the cult of Kuleśvari, while the northern disciple taught Uttarāmnaya, the cult of Kālasangarshini. the Southern tradition was known as Dakshinamnaya, the cult of Kāmeśvarī. Nowadays, the southern Śrikula sect of Kameśvari and northern Kālikula sect of Kali are still known as Shaktism sects, while the other two (Kubjikā and Trika) are usually identified as Shaiva sects along with other Kashmiri Shaiva traditions.[7]

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Kubjika

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Kubjika (: कुब्जिका, Kubjikā), meaning "the hunchbacked" or "the crooked one," is a Tantric Hindu goddess revered as the supreme embodiment of , the dynamic energy of universal consciousness, within the Kaula tradition of . Central to the esoteric Kubjika cult, which emerged in southern around the CE and flourished prominently from the 9th to 13th centuries, she is primarily worshipped by the Newar community in the of through secretive rituals involving mantras, mandalas, and initiations restricted to initiated priests. In her iconography, Kubjika is typically depicted as a multi-faced and multi-armed deity—often with six faces representing aspects like Para, Kalika, and , and twelve arms wielding symbols such as the lotus, , and skull-cup—seated on a or in an intimate embrace with her consort Navatman, a form of or , emphasizing her dominance as the more powerful figure. Her forms vary, sometimes portraying her as an elderly hunchback symbolizing the coiled energy, and at other times as a youthful, contortionist-like figure adorned with serpents and scorpions, reflecting her creative, destructive, and erotic dimensions. Kubjika's metaphysical significance lies in her role as the pervading force of all realities—gross, subtle, and supreme—linked to vital breath () movements in practices and the activation of chakras, such as the and . She is associated with sacred seats (pithas) like Oḍḍiyāna and , and her cult draws from tribal Śavari traditions, embodying lesser goddesses of elements like , fire, and the moon. Detailed in foundational texts such as the Kubjikāmata-tantra and Manthānabhairava-tantra, her worship remains obscure outside , underscoring her status as a "hidden" whose power is accessed through disciplined Tantric sadhana.

Names and Etymology

Etymology

The name Kubjikā derives from the root kubja, meaning "to crook," "to bend," or "to curve," which etymologically signifies a bent or hunched form. This linguistic origin is attested in Tantric scriptures, where it literally translates to "the bent one" or "the hunchbacked one," reflecting her core identity as a embodying curvature. In Tantric mythology, the name arises from an etiological involving the goddess in her aspect as Vakrikā (the crooked one), a form of Pārvatī. Overcome with emotion and shame during an intimate embrace by Śiva (or in esoteric contexts), she bends over, adopting a permanent crooked posture that bestows upon her the name Kubjikā. This story, detailed in the heterodox theophanies of the Kubjikā Tantras, underscores the transformative power of divine union and reversal. Within the historical development of Tantric literature, particularly texts of the Western Transmission (paścimāmnāya) like the Kubjikāmata Tantra, the term Kubjikā evolves beyond physical connotation to symbolize the inner spiritual curvature of kuṇḍalinī śakti—the coiled, dormant energy at the base of the subtle body. This metaphorical bending represents the latent potential for yogic awakening, where the goddess's "crookedness" mirrors the ego's resistance (aham) that must uncoil to achieve enlightenment, as interpreted in scholarly analyses of these traditions.

Alternative Names and Epithets

Kubjika is frequently referred to by several alternative names and epithets in the Tantric scriptures of the Kaula tradition, each carrying symbolic weight tied to her esoteric nature as a manifestation of supreme consciousness and subtle energy. Among the primary synonyms is Vakreśvarī, translating to "Mistress of the Crooked," which highlights her association with a curved, erotic form representing the coiled Kundalini energy within the yogic subtle body. This epithet underscores her role as a dynamic power of divine speech and vital force, flowing through the subtle channels (nāḍīs) as described in texts like the Kubjikāmata Tantra. Closely related is Vakrikā, or "the Bent One," emphasizing the contracted or bent posture symbolizing her latent, hidden potential before awakening in Tantric practices. Another key synonym is Ciñciṇī, meaning "the Shaker" or "Trembler," which evokes the vibratory movement of prāna, the vital breath, in yogic meditation and Kundalini arousal. This name links her to the unstruck sound (anāhata nāda) resonating in the practitioner's inner body, as outlined in the Ciñciṇīmata Tantra and related compendia, where she embodies the subtle tremor of cosmic energy transmission. Additional epithets include Kubjikāmata, denoting "Mother Kubjika," portraying her as the generative source of Tantric doctrines and the great mother experienced internally during ritual contemplation. She is also called Parādevī, the "Supreme Goddess," signifying her transcendent status beyond dualistic categories as the ultimate reality and light of consciousness in the Pāścimāmnāya tradition. Further titles such as Vākdevī, the "Goddess of Speech," position her as the origin of mantras, adorned with the fifty letters of the Sanskrit alphabet and embodying the creative power of vāc (speech). In this aspect, she is revered as the hidden or shadow goddess, representing the veiled, subtle dimension of divine energy that permeates the universe yet remains concealed until revealed through initiation and yoga. These names collectively illustrate Kubjika's multifaceted identity, blending physical symbolism with profound metaphysical implications drawn from core Kaula texts.

Iconography

Physical Appearance

Kubjika's most distinctive physical feature is her hunchbacked or crooked posture, rendering her body bent or curved, often with crooked limbs in her mature form known as Vrddha. This posture is emphasized in Tantric visualizations where she appears limping or khanjani, embodying a form that is both static and dynamic in its forward lean. In her youthful Kumari form, she is slender with a thin , while her child form, Bala, presents a more compact, coiled appearance. In elaborate multi-faced manifestations described in the Kubjikamata Tantra and Manthanabhairavatantra, Kubjika exhibits six faces in her Bala form: the uppermost face as the white, milk-like Para or Malini; the eastern face as Siddhayogesvari; the southern as Mahalakṣmi; the northern as ; the western as Kubjika proper; and sometimes a sixth integrated with Pañcamukha Mahadeva, Shiva's five-faced aspect. These faces are typically three-eyed, with her overall form appearing androgynous or neuter (napumsaka), blending feminine and transcendent qualities without explicit markers in some depictions. She is frequently portrayed as erotic, with an emphasis on her curvaceous yet distorted silhouette, nude or scantily clad to highlight her corporeal immediacy. Her body is enveloped in serpentine adornments, signifying her intimate connection to ophidian forms: Karoṭaka coils as a , Takṣaka wraps the , Vāsuki serves as a garland around the neck, and Kulika adorns the ears as venomous pendants. In visualization practices, she dwells in the subtle coil (kundamadhye) above the six ādhāra-cakras, her form integrated with the yet manifesting as a tangible, bent figure radiating presence. Rare artistic depictions from Nepalese Newar traditions echo these textual traits, such as a 12th-century painting in the portraying her as a youthful, multi-armed seated in embrace with her consort Navatman, though physical icons remain scarce and esoteric.

Symbolic Attributes

In Tantric philosophy, Kubjika's hunchbacked form, known as kubjā or "the crooked one," symbolizes the dormant and contracted state of , the coiled serpent power residing at the base of the spine in the , awaiting awakening to facilitate spiritual ascent. This curvature represents the inner bends and challenges of the yogic path along the central channel (suṣumnā nāḍī), embodying the introverted, bashful contraction of divine during its union with the absolute, as depicted in myths where she bends in modesty before . Metaphysically, it signifies the latent potential of cicchakti (consciousness power) to expand from limitation to cosmic liberation, mirroring the practitioner's journey from individual ego to universal awareness. The serpents entwined with Kubjika represent the vital energies (prāṇa) and the dynamic forms of yoga, particularly the serpentine ascent of Kundalini through the brahmanāḍī (central subtle channel), transforming base instincts into enlightened vitality. These serpentine motifs underscore her role as prāṇasakti, the breath-force that permeates the subtle body, enabling the yogin to harness life currents for transcendence and aligning with the Kaula emphasis on internal alchemy over external rituals. Her six faces, in turn, embody dominion over the six primary chakras—from the root (mūlādhāra) to the third eye (ājñā)—with each face corresponding to a divine aspect such as Mālinī or Siddhayogeśvarī, facilitating meditative control and the integration of psychic centers. The 360 rays emanating from her form further symbolize cosmic emanations, evoking the complete cycle of manifestation akin to the solar year's divisions, where her light permeates all levels of reality from the contracted self to the infinite expanse. Kubjika's erotic and androgynous dimensions highlight the transformative intensity of divine passion, akin to that of Tripura (Tripurasundarī), where sexual union serves as a metaphor for the fusion of śiva (static consciousness) and śakti (dynamic power), awakening hidden potentials to reveal non-dual bliss. This androgynous essence merges kula (emanation) and akula (absorption) principles, transcending gender dualities to embody the Nameless Absolute, with rituals invoking her passionate nature through the Wheel of Passion (rañcakra) to catalyze ecstatic liberation. Her association with the potter community, metaphorically as kulālikā (the shaper), reflects this creative potency: just as a potter molds clay into forms, Kubjika shapes fragmented consciousness into unified divinity, drawing from the primordial yoni (matrix) at the navel to generate worldly and spiritual structures.

Mythology and Legends

Origin Story

The , the earliest and most authoritative text of the Kubjika cult, opens with two myths narrating the manifestation of Kubjika, the Humpbacked One, in the current age. These narratives highlight her emergence as the supreme in the esoteric of Oddiyana, a sacred site associated with Tantric initiation. Her name derives from the term for "hunchbacked" or "crooked," reflecting her characteristic bent form. This origin underscores Kubjika's role as the supreme energy born from the divine couple's union, embodying the coiled that lies dormant at the base of the spine, awaiting awakening to unleash cosmic potential within the practitioner. Her bent form represents the latent, introspective power of creation and spiritual ascent, distinct from more overt expressions of in mainstream traditions. Kubjika's manifestation is depicted as profoundly secretive, unveiled only through initiatory lineages of , where she functions as the "Shadow "—a veiled, enigmatic figure whose teachings are transmitted orally among select adepts to preserve their potency from profane eyes. This clandestine emergence reinforces her identity as a guardian of hidden knowledge, accessible solely to those who navigate the subtle currents of Tantric practice.

Associations with Other Deities

Kubjika's primary consort in the Pascimāmnāya, or Western Transmission, of the Kaula tradition is Navātman, a manifestation of Bhairava who embodies the supreme lord of the wheel (cakra) and is central to her cult's rituals and meditations. Navātman, represented by the mantra HSṚKṢMLVṚŪṂ, is depicted as Asitāṅga seated in the ādimanḍala, where he unites with Kubjika to form the core of the sāktibhairavamaṇḍala, facilitating the practitioner's realization of the supreme goddess. In ritual contexts, Kubjika is also paired with Pañcamukha Mahādeva, a five-faced form of Śiva, emphasizing her role in transformative yogic practices within the Kubjikāmata Tantra. Within Shaktism, Kubjika manifests as an aspect of Pārvatī, particularly in her form as Kaṇikā, an earlier emanation known as Umā, highlighting her creative and consort-like qualities derived from the divine union. She embodies the erotic energy of Tripurā through associations with Kāmēśvarī and the sacred site of Kāmarūpa, symbolizing the dynamic power of desire in Tantric cosmology. As a fierce, hidden power, Kubjika aligns with Kālī, sharing destructive and transformative attributes akin to Guhyakālī, where she represents the latent potency of dissolution within the goddess's multifaceted nature. In the Trika system, she is revered as the Para, the supreme transcendent aspect, equating her with the highest triad of goddesses (Para, Parāparā, Apara) and integrating her into non-dual Śaiva frameworks. Kubjika serves as the patron of potters, known as the kulālikā or tutelary of the low-caste Kumhār community, who invoke her as the form-creator in their artisanal practices, reflecting her role in shaping and manifesting reality. Her cult was propagated by the Nine Nāthas, a yogic lineage that disseminated her teachings across and northern , connecting her worship to broader traditions. This propagation links her directly to figures like Matsyendranātha, the foundational guru of the Nātha , who integrated Kubjika's Kaula doctrines into yogic lineages emphasizing inner and non-dual realization.

Tantric Texts and Worship

Kubjikāmata Tantra

The Kubjikāmata Tantra is a foundational scripture of the , composed in the 9th or CE, with the oldest surviving dating to around 1100 CE. This text, comprising approximately 3500 verses across multiple chapters, establishes Kubjikā as the primary deity within the non-Siddhāntika mantra mārga of the , emphasizing esoteric practices distinct from the more orthodox Siddhānta path. Central to the tantra's contents are detailed rituals, mantras, and practices intricately linked to the vital breath (prāṇa), which sustains the practitioner's life force and facilitates spiritual ascent. These include mantras for invoking seven yoginīs associated with Kubjikā, such as Dākinī and Yākṣinī, used in offerings and meditative rites to conquer death and preserve vitality. The text outlines techniques for raising the coiled energy (kuṇḍalinī) through the , tying prāṇa control to rituals like utkrānti (self-chosen death or transcendence), where the vital pierces subtle "knots" along the body's axis. It positions Kubjikā within the four streams (āmnāya) of the Kaula tradition—eastern, southern, western, and northern—with her cult anchoring the western stream (paścimāmnāya), revealed through Śiva's western face as Sadyojāta. Doctrinally, the portrays Kubjikā as the Ādiśakti, the primordial cosmic energy manifesting in sound (Mālinī alphabet) and the , paired with Śiva in forms like or Kujeśvara. Her sādhana focuses on awakening this coiled energy through visualizations of her hunchbacked form and attendant deities, depicted with specific attributes like swords, skulls, and vibrant colors to evoke their powers. The practices explore realms, including Oḍḍiyāna as a key locus at the crown, where kuṇḍalinī culminates in liberation, integrating myth, recitation, and breath control for the practitioner's union with the divine.

Ciñciṇīmata Tantra

The Ciñciṇīmata Tantra, also known as the Cincinimatasārasamuccaya, represents a later development in the Kubjikā tradition, likely composed after the 10th century as a compendium of supreme Kaula doctrines within the Siddha transmission lineage. This text elaborates on Ciñciṇī, an epithet for Kubjikā meaning "the shaker" or "she who trembles," portraying her as the dynamic force that agitates and mobilizes subtle energies (śakti) throughout the practitioner's body and cosmos. It positions Kubjikā prominently within the Paścimāmnāya, the Western Transmission of Kaula Tantrism, which is deemed the highest among the four directional amnāyas (transmissions), originating from a sacred tamarind tree (ciñciṇī-vṛkṣa) symbolizing the root of consciousness in the western Himalayas. The tantra integrates elements from earlier works like the Kubjikāmata Tantra, expanding on core worship practices while emphasizing Kubjikā's role in unifying diverse Kaula lineages. A distinctive feature of the Ciñciṇīmata Tantra is its delineation of four principal Kaula streams—Pūrvāmnāya, Dakṣināmnāya, Uttarāmnāya, and Paścimāmnāya—emerging from the Paścimāmnāya as the primordial source, each corresponding to directional transmissions taught to four disciples who disseminated the tradition across , from the to . The text further describes six internal Kaula currents (srotas) within the Siddhakrama, linked to figures like Matsyendranātha, facilitating the adept's ascent through yogic streams of power. Kubjikā's specific mantras, including the uniform Paścimāmnāya formulas such as the three core mantras of Kubjikā and the Navātman mantra for her consort, are prescribed to direct prāṇa (vital breath) movement, enabling the piercing of chakras and the rulership over subtle energy centers. These mantras invoke her as the coiled Kundalinī, whose activation propels consciousness upward through the curved (vakra) pathways of the . In terms of esoteric initiations, the outlines advanced dīkṣā rites tailored for Newar practitioners in the , where the Kubjikā cult remains a closely guarded among Tantric elites. These include samayadīkṣā (temporal initiation) and devadīkṣā (divine initiation) in three forms—Sambhava, Śākta, and Anava—transmitted orally through the "mouth of the yoginī" to awaken hidden potentials, often involving the guru's direct infusion of power under the guidance of Siddhas and yoginīs. Such initiations emphasize and direct lineage transmission, preserving the text's doctrines among Newar Kaula communities. Cosmologically, the Ciñciṇīmata Tantra casts Kubjikā as the goddess of concealed power (gūḍha-śakti), residing in the island of the (Candradvīpa) within the of Kula, where she facilitates the transcendent union of Śiva and Śakti via her vakra (crooked or curved) essence. This curvature symbolizes the non-linear, hidden trajectories of divine energy, contrasting straight paths in other traditions, and culminates in the Sambhava state of pure, thought-free . Through her, the adept realizes the integration of Kula (energy) and Akula (), with the four amnāyas representing metaphysical moments in cosmic cycles of creation, sustenance, and dissolution.

Other Scriptures and Practices

Beyond the primary tantras, Kubjika is referenced in several additional scriptures that elaborate on her esoteric nature and worship. The Kubjikā Upaniṣad, a late Kaula text associated with Atharvan traditions, portrays her as the goddess of speech (vāk) established in Brahman, emphasizing meditative identification with her as the ultimate reality through tantric rituals and invocations. In the Sarvāmnāya Tantra, a foundational text of Nepalese tantric traditions, Kubjika's cult is integrated into the Paścimāmnāya lineage, preserving and rediscovering her worship among Newar Śaiva communities in the Kathmandu Valley through sequential initiatory transmissions (kramadikṣā). The Mahāmokṣa Tantra, an Aśvakrānta-class text, mentions the Kubjikātantra as a key scripture, situating her within broader frameworks of liberation and tantric emanation. Tantric practices devoted to Kubjika emphasize secrecy and inner transformation, including siddhakrama initiations that transmit her lineage through lists of mahāsiddhas and nāthas, conducted in private settings to awaken latent powers. Yantra worship, such as the Yāmarājava yantra, is central for protection and energetic alignment, often involving meditative visualization and offerings to channel her crooked, Kundalini-like form. Homa rituals (homam), featuring fire offerings of substances like flesh or blood as argha, align the practitioner's energies with hers, facilitating transcendence of mundane existence through her esoteric mantras, such as those invoking the seven dākīṇīs with seeds like AIM and HRĪṂ. Yoga practices focus on breath control (prāṇāyāma) and awakening, exemplified by utkrānti techniques that raise her coiled energy upward, potentially leading to ecstatic dissolution of ego-bound fear. These are performed in private shrines, particularly by Newar initiates, underscoring her hidden cult. Rare textual mentions highlight roles for female sādhakas, such as pre-pubertal kumārīs assisting in rites, while offerings linked to her Kulālikā (the Potteress) involve clay or potter-crafted items symbolizing creation and containment.

Historical Development

Origins and Peak

The cult of Kubjika likely originated in the western regions of , possibly around the 8th-9th centuries CE, emerging as a non-Siddhāntika tradition within the broader Tantric traditions of during the 9th and 10th centuries CE, drawing foundational elements from the Trika of . This development occurred in the , where esoteric practices emphasizing the goddess as the supreme power () began to coalesce, influenced by monistic interpretations of that prioritized internal yogic rituals over external temple worship. Predating the 9th century CE, key texts such as the Kubjikāmata formalized her worship, with references by (c. 975-1050 CE) positioning Kubjika as a manifestation of coiled energy central to Trika's non-dual framework. Kubjika's tradition integrated deeply with Shaiva-Shakta lineages, particularly the Kālikula branch, which elevated fierce goddesses as embodiments of ultimate reality, blending Kaula ritualism with Trika's philosophical depth. Propagation occurred through networks like the Nine Nāthas, a group of yogic adepts who disseminated her cult from the Himalayan regions into and by the , fostering secretive initiatory lineages. The cult reached its zenith in the 12th century, when Kubjika was revered as a primary aspect of Adishakti, the primordial feminine power, amid a flourishing of Tantric synthesis in and adjacent areas. Regionally, the tradition spread from the Himalayas southward to Newar communities in the Kathmandu Valley, where it merged with local Shaiva and Buddhist Tantric practices by the early 11th century, evidenced in cults like Guhyakali. Its esoteric and initiatory character ensured limited public visibility, confined to elite practitioners and private shrines, which contributed to its gradual fading after the medieval period as broader socio-political shifts diminished Tantric patronage in North India and Kashmir.

Modern Observance

The worship of Kubjika experienced a notable rediscovery in the early 1980s among the Newar communities of the , where scholar Mark S. G. Dyczkowski, who passed away on February 2, 2025, encountered the Kubjikāmata Tantra during fieldwork, revealing her ongoing esoteric cult in private family shrines reserved for initiated tantric practitioners. This rediscovery highlighted Kubjika's persistence within secretive Newar tantric lineages, particularly through the Sarvāmnāya tradition, which integrates her as a central in Urdhvāmnāya Śrīvidyā practices. In contemporary and the Himalayan regions, Kubjika's cult remains confined to select Newar families and Kaula tantric circles, where rituals are conducted in hidden shrines accessible only to initiates, emphasizing her role as a of coiled, hidden energy (kuṇḍalinī). These practices, rooted in classical Newar traditions, involve meditative visualizations and work but are rarely observed outside these closed groups, with occasional associations among potter communities now largely diminished to symbolic reverence rather than active worship. Modern adaptations include online homams and installations offered by Vedic ritual services, aimed at aligning personal energy centers for spiritual protection and focus, though such public offerings contrast with the tradition's inherent secrecy. Globally, interest in Kubjika has grown among sādhakas seeking her invocation for accessing latent inner power, often through individualized practices inspired by Kaula texts, yet her cult maintains a low profile with few public temples or artworks due to initiatory restrictions. In 21st-century scholarship and tantric literature, such as updated editions of Western Kaula studies, her symbolism is increasingly linked to traditions, portraying her bent form as emblematic of kuṇḍalinī awakening and breath-centered for metaphysical insight.

References

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