Kalighat Kali Temple is a Hindu temple in West Bengal, India, devoted to the Hindu goddess Kali. It is one of the 51 Shakti Peethas.
Early medieval records of the shakti essences (focuses of force) refer to Kalighat as the residence of an especially furious sign of the goddess, known as Dakshina ("south-bound") Kalika. Once encompassed by a thick wilderness and got to fundamentally by watercraft, this riverside house the Cosmic Mother has changed into a clamouring temple unpredictable, situated in the heart of one of India's biggest and most crowded urban communities. At the Kalighat Kali Mandir, the dull goddess who has been adored since time immemorial keeps on ruling over this nexus of force where the old and present day universes converge.
Situated in one of Kolkata's most seasoned neighbourhoods, Kalighat is a prestigious focal point of goddess worship and place of journey, where aficionados have desired hundreds of years to surrender themselves at the feet (truly) of the Divine Mother. Nearby old stories relates that Kalighat, once a wilderness locale, was occupied by head-chasing tribal individuals and Kapaliks ("skull-bearers") who venerated the dim goddess with human penance. Fancifully, such references to "tribal individuals" and pariahs are regularly utilized to declare Kali's position as a peripheral goddess who exists outside of the societal fold. In spite of the fact that the roots of this shakti substance are clouded in myth, inferences to a vital Kali temple around there date from the center of the twelfth century and it can't be contended this spot has an immediate relationship with Kali from old times.
The Haldar family, who have customarily included the goddess Kalika's organization, refer to two imperative elements adding to Kalighat's superior position among the shakti essences. The main which is offered identifies with its area. Love of the goddess at Kalighat is matched with that of Shiva at the close-by lingam temple, it is situated almost a cremation ground, and it is nearby the Adi Ganga stream. Besides, this shakti substance is connected with the goddess' feet where the toes of Sati's correct foot are said to have fallen, making it the penultimate spot of accommodation for her aficionados. Repeating articulations of traverse, duality, and surrender are discovered over and again in the mythology of Kali, as well as in the region of Kalighat and all through this paper. Such topics include: traverse from the domain of the inalienable to the extraordinary, exemplified in this district by its cremation ground and its vicinity to streaming water; the union of alternate extremes, showed in the manly/ladylike dichotomy of Shakti and Shiva, and in addition complimentary rituals revolved around both virtue and phlebotomy; lastly, surrender to the goddess who is eventually seen as the Cosmic Mother. It is the last subject, that of surrender, which encircles the rest.
This old Kali temple is Kolkata's holiest spot for Hindus and conceivably the wellspring of the city's name. Today's form is from 1809 modified with botanical and peacock-theme tiles that look more Victorian than Indian. More intriguing than the construction modelling are the jarring pioneer lines that snake into the fundamental corridor to excursion hibiscus blooms at a delegated, three-peered toward Kali picture. There's no compelling reason to go along with them to feel the air.
Behind the chime structure yet at the same time inside of the mandir complex, goats are customarily decapitated (for the most part mornings) to respect the regularly requesting goddess. To the immediate east is a pea-green 'heavenly lake' and by the asylum's north edge, a tree of fruitfulness.
A 200 year old temple from which Calcutta is said to take its name. Kali is viewed as one of the chief divinities of Bengal. There are different temples to Kaali - Sahasrabhuja Kaali, Sarvamangala, Tarasundari and Simhavaahini. Kaali is viewed as the destroyer or deliverer and is portrayed in a frightful structure. In spite of the startling structure, she is considered to convey joy to admirers. Kalighat is viewed as one of the 52 Shakti Peethams of India, where the different parts of Sati's body are said to have fallen, over the span of Shiva's Rudra Tandava. Kalighat speaks to the site where the toes of the right foot of Shakti or Sati fell.
The Kalighat temple in its present structure is just around 200 years of age, despite the fact that it has been alluded to in Mansar Bhasan made in the fifteenth century, and in Kavi Kankan Chandi of the seventeenth century. It is said that an aficionado found a luminant beam of light originating from the Bhagirathi stream bed, and after exploring its source happened upon a bit of stone cut as a human toe. He additionally found a Syayambhu Lingam of Nakuleshwar Bhairav close-by, and began revering Kaali amidst a thick wilderness. This place of worship developed to its present structure over a timeframe, thanks specifically to the Sabarna Roy Chowdhury group of Bengal. This family is additionally said to have constructed the Chitreswari Kaali temple at Chitpur. It is trusted that there was a pathway through the wilderness in the middle of Chitpur and Kalighat, and this pathway is said to have turned into the Chitpur street of Calcutta. Kalighat is additionally connected with the love offered to Kaali by a Dasanami Monk by name Chowranga Giri, and the Chowringee zone of Calcutta is said to have been named after him.
The waterway over a timeframe has moved far from the temple. The temple is presently on the bank of a little trench known as Adi Ganga which joins to the Hoogly. The Adi Ganga was the selective course of the stream Hoogly the Ganges. The picture of Kali in this temple is selective. It doesn't take after to the example of other Kali picture in Bengal. The current symbol of touchstone was planned by two holy people Brahmananda Giri and Atmaram Giri. Three major eyes, long distending tongue planned of gold and four hands, which all are made with gold as well. Two of these hands having a scimitar and a disjoined head go of the Asura lord 'Shumbha'. The scimitar speaks to celestial learning and the Asura head speaks to human Ego which should be killed by perfect information to have the capacity to get Moksha.
From that point forward it has been a vital journey site. Be that as it may, the temple is committed to the ruinous side of Shiva which takes the type of Kali. She requires give up day by day to fulfill her blood desire so every morning goats are relinquished on the change of the temple.
About the Temple
Arranged on the banks of Adi Ganga, the temple has a sanctum sanctorum in the organization of a colossal lobby by the name of Nat Mandir. In the north-east of this sanctum, there is a Shiva Temple. There is one more hallowed place devoted to Radha Krishna.The primary fascination of this temple lies in the picture of Goddess Kali that bears a since quite a while ago distended tongue made out of gold.
The fundamental holy place includes the picture of Goddess Kali.The picture of the divinity seems fragmented.On the introductory level, the substance of the goddess was made and facilitate tongue and hands made of gold and silver were added to the picture. Upon the arrival of Snan Yatra (Bathing Ceremony), the clerics cover their eyes with material strips, while giving the stately shower to the Goddess.Celebrations like Kali Puja, Durga Puja, Poila Boishakh, the Bengali New Year day and Sankranti witness colossal number of enthusiasts at the temple with offerings.
Inside the Temple
There are shiva, ganesh and different temples inside the kali temple grounds.Those temples were free from crowd.There is a spot for creature penance in the temple. It is similar to two stone posts. The creature should put its neck inside of the posts. The head should be cut in one strike. A Few individuals say there are relinquishes notwithstanding amid late days.
This is a rectangular sacrificial stone around three feet high bearing a little prickly plant. Underneath the tree, on a holy place three stones are put one next to the other - left to right speaking to the goddesses Shashthi (Sosthi), Sitala and Mangal Chandi. This sacrosanct spot is known as Sosthi Tala or Monosha Tala. This sacrificial stone was built by Gobinda Das Mondal in 1880. The spot of the sacred place is the Samadhi of Brahmananda Giri. Here every one of the ministers are female. No every day adore or offering of Bhog (nourishment offering) is done here. The goddesses here are considered as a major aspect of Kali.
A substantial rectangular secured stage called Natmandir has been raised nearby the fundamental temple, from where the substance of the picture can be seen. This was initially fabricated by Zamindar Kasinath Roy in 1835. It has been accordingly revamped regularly.
The extensive varandah of the fundamental temple Facing the picture is known as Jor Bangla. Customs happening inside the sanctum sanctorum are unmistakable from the Natmandir through the Jor-bangla.
This is the spot contiguous the Natmandir, southwards implied for Bali (penance). There are two Sacrificial holy places for creature penances one next to the other. These are known as Hari-Kath. The greater one is for wild ox penances and the littler one for goats and sheep. The creatures are yielded with a solitary stroke of the scimitar and there is next to no brutality to creatures when contrasted with the expert abattoirs.
This is the hallowed tank arranged in the south-east of the temple outside the limit dividers. Present range of the tank is around 10 cottahs. In the past it was greater and called 'Kaku-Kunda'. In sixteenth century 'Sati-Ango' ( the right toe of Sati) was found from this tank.This tank is surely understood for its energy to offer the help of a kid. The water from this tank is viewed as holy as that of the Ganges. Endeavours at emptying the water out of the tank for cleaning has fizzled in the past demonstrating the likelihood of an underground with Adi Ganga.
Contained inside of the fundamental mandir is the garbhagriha, the internal sanctum which houses the statue of the goddess. Substantial swinging doors on the southern side of the mandir open to uncover the inside to an appended, raised veranda called the jor-bangla. The jor-bangla is a roofed, oval pathway with openings on every one of the four sides. Most pioneers get their darshan as they stroll through the jor-bangla, gazing down into the lower, deepest assembly of the Kalighat Mandir which houses the murti of Kalika. Stairs on every end of the jor-bangla coordinate the pedestrian activity through this path, which by and large continues from west to east. While darshan is for the most part gotten from inside of the jor-bangla, another substantial opening on its southern divider, permits devotees to look through it, from the vantage purpose of an extraordinarily built review stage called the natmandir.
The entryway of the sanctum sanctorum which opens to the jor-bangla is sufficiently extensive to oblige a few temple authorities (collaborators of the phaledar) who stand in this opening at a vital position to go about as go between the clerics positioned inside of the garbhagriha, and the aficionados in the veranda. Now and again these go betweens’ will maneuver guests up into this raised door jamb from where it is conceivable to have a 10,000 foot perspective of the garbhagriha and a nearby take a gander at the Kalika murti. There are five alleviation boards on both the left and the right entryways which independently delineate each of ten Mahavidyas and recondite group of Tantrik "Knowledge Goddesses." The board portraying the Mahavidya Kali was the one and only wiped with orange sindoor. Beneath both sections of Mahavidya pictures were winged lions, an image connected with Shiva.
Despite the fact that the jor-bangla is the place the larger part of pioneers get darshan, there is an entryway on the Kali Mandir's upper east side which allows direct access to the inward sanctum. Steps lead down into the garbhagriha wherein a way fencing so as to twist around the murti is outlined. Taking after this course takes you in a counter-clockwise heading until you get yourself up close and personal with the Kalika murti. A defensive metal railing is raised around the back, right, and left sides of the statue. Every side of this boundary includes the repeating theme of inverse confronting swastikas flanking a coconut-topped pot – a gathering of images generally viewed as favorable. On the off chance that your arms are sufficiently long, you can reach through this railing and touch the smooth dark stone of the Kali murti. For the most part, the line of fans moves rapidly through the garbhagriha, and soon devotees will get themselves eye to eye with the goddess Kalika, Kalighat's thumping heart.
Other Deities inside the Temple
There are numerous different temples along the edge of the fundamental Kali temple. For example, Hanuman temple and so on. Around 50 mtrs away there is a wonderful shiva temple called Nakuleswar Bhairav (picture underneath). There is likewise a Jagannath temple (Jagannath, Balabhadra and Subhadra) before Nakuleshwar Bhairab temple. The durga symbol in Palli Durga temple is colossal and wonderful which is about half km from Kalighat kali temple. The symbol is made of metal such as metal which look brilliant.
Nakhuleshwar Mahadev Temple
This Shiva temple is committed to the consort of Maa Kali. It is arranged in Haldar Para path on the inverse side of the temple behind the police headquarters. This temple is additionally exceptionally old and specified in the history.The four Shiva temples inside the temple were developed by various shebait families who hold control over them. This is a rectangular sacred place around three feet high bearing a little prickly plant. Underneath the tree, on a sacrificial table three stones are put next to each other - speaking to the Goddesses, "Sosthi", "Sitola", and "Mongol Chandi". This holy spot is known as Sosthi Tala or Monosha Tala. This sacred place was developed By Gobinda Das Mondal in 1880. The spot of the sacred place is the Samadhi of Brahmananda Giri.
Here every one of the clerics is female. No day by day venerate or offering of Bhog is done here. The Goddesses here are considered as a major aspect of MAA Kali.
This temple is known as Shamo-beam temple and is arranged inside the temple at the west side of the fundamental temple. In 1723, a settlement officer of Mushirabad region initially raised a different temple for Radha-Krishna. In 1843 a Zamindar called Udoy Narayan Mondal raised the present temple in the same spot. The Dolmancho was established in 1858 by Madan Koley of Saha Nagar. There is a different kitchen for readiness of veggie lover Bhog (nourishment offering) for Radha-Krishna.
Customs and Darshan
The timetable of customs that happen at the Kalighat Mandir take after a recurrent course which reflects the circadian beat of human life. Kalika is seen as a living goddess whose every day need is gone to with the most extreme veneration by her ministry. Starting at 4:00 am, she is delicately awoken, after which her picture is cleaned and adorned with wreaths of red hibiscus blooms before the temple entryways are opened to the general population. At 6:00 am the intricate function of Kalika's morning aarti starts. The ways to the garbhagriha stay open until 2:00 pm, when they are shut so that the pujaris can offer Kalika her nourishment in private. For a timeframe, the temple entryways remain bolted while the goddess eats and sleeps. The prasad of this sustenance offering is later disseminated to temple representatives, explorers, and neighborhood bums. At 4:00 pm, the entryways are again opened for devotees to cooperative with Kalika and have darshan with her murti. Some night customs, including an evening time aarti, are performed before the garbhagriha's entryways authoritatively near the general population around 11:00 pm. Kalika is then affectionately dressed and arranged for bed.
Other Sacred Sites
While the mandir which cherishes Sati's fallen toe is without a doubt the prevalent sacred spot of Kalighat, a group of stars of temples found all through the encompassing neighborhood further bears witness to the age and general holiness of this area. For instance, only outside of the Kalighat Kali Temple's upper east passageway there are two places of worship, both of which are loaded with various perfect representations including an extensive Shiva lingam, murtis of Hanuman, Rama, Durga, and an all the more once in a while seen icon of Kalki - the tenth and last symbol of Lord Vishnu.
Leaving the temple complex's substantial western door and bearing straight ahead will take you along a by lane that is flanked on inverse sides with various little shops and specked with temples. This truly imperative course join the Kalighat Kali Temple with the Adi Ganga River's holiest landing stage, by and large alluded to as Mayerghat. It is the principle ghat connected with Kalighat and the wellspring of this present region's name. Photos and representations of Kalighat from the nineteenth and mid twentieth century delineate this region as a bustling avenue, swarmed with pontoons, and in addition a position of fascination for extensive quantities of travelers who can be seen showering in the hallowed water of the Adi Ganga.
The Adi Ganga (actually "Unique Ganges") was at one time the course for the Hooghly River which is the biggest tributary of the Ganges.The steady moving of the Hooghly throughout the years has left today's Adi Ganga a shallow stream. Disastrously, the stream behind Kalighat experiences amazing contamination and is basically a dead channel. The surface of its almost dark, cloudy water flickers with an unnatural sheen; and an offensive, sulfurous smell demonstrative of sewage saturate the air encompassing it. This miserable state has not gone unnoticed as neighborhood protection endeavors concentrated on reinvigorating the stream are underway but years of devoted exertion will be required to breathe life into the waterway back.
About the Deity
The picture of Kali
The picture of Kali in this temple is one of a kind. It doesn't take after the example of other Kali pictures in Bengal. The present icon of touchstone was made by two holy people - Brahmananda Giri and Atmaram Giri. Three colossal eyes, long distending tongue made of gold and four hands, which all are made of gold as well.Two of these hands holding a scimitar and a disjoined leader of the asura lord "Shumbha". The scimitar means Divine Knowledge and the asura (or, human) head connotes human Ego which should be killed by Divine Knowledge keeping in mind the end goal to accomplish Moksha. The other two hands are in the abhaya and varada mudras or endowments, which implies her started aficionados (or anybody worshiping her with a genuine heart) will be spared as she will control them here and henceforth.
She is dreaded by the shades of malice as her picture is so petrifying however Kalighat's model of the goddess gives a radical new measurement of our comprehension of the god. Three immense eyes, long distending tongue made of gold and four hands, which all are made of gold as well. Two of these hands holding a scimitar and a disjoined leader of the asura(evil) ruler 'Shumbha'. The scimitar connotes divine information and the asura head means human Ego which should be killed by awesome learning keeping in mind the end goal to achieve Moksha (freedom). The other two hands are in the abhaya and varada mudras or gifts, which mean her started aficionados (or anybody worshiping her with a genuine heart), will be spared as she will direct them here and from this point forward. Yet, by and by, in whichever picture she is flaunted, she is the goddess of decimation, of strengthening and of progress and her most punctual incarnation demonstrates her as triumphant over malice.
Every temple has holy places for Shakti and Kalabhairava. The name of Shakti here is Kalika and the Kalabhairava as Nakuleshwar.
While Kali exemplifies the unforgiving results of life - aging, agony, battle, and death - she is at the same time saw as the wellspring of all natural sustenance and profound salvation. These profoundly diverse measurements of Kali's multivalent identity may at first appear to repudiate each other, yet recollect that the name Kali - besides alluding to her darkness - is the female type of the Sanskrit word kala, signifying time. Our impression of life and the universe is constantly based upon our experience of existing in time, and the progressions we consistently experience until we kick the bucket. It is Kali's part as the transformative force which underlies her differing representations. Never portrayed in a condition of stillness, she is the everlastingly moving Kali whose twisted movements are the back and forth movement of nature evident in the substituting cycles of creation and pulverization, day and night, conception and passing. Kali includes the greater part of nature's complimentary perspectives, as well as the preeminent Mother Goddess, rises above them. Despite the fact that Kali the Mother is generally loved all through India and abroad, she is especially famous in West Bengal where she is loved in a bunch of structures. The city-abiding representative of Kolkata (who sees the perfect through the Universalist lens of Vedantic logic) and the rustic Adivasi tribal lady (who collectives with the town particular virtuoso loci of an earthen cabin temple), despite the fact that they possess unmistakable social circles and seem to love totally irrelevant divinities, may in any case both location their supporter goddess as Kali.
The consecrated picture of Kalika is etched from an extensive, cleaned dark stone.The main perceptible facial elements on the stone's generally smooth surface are the nose and three eyes which extend from it.These eyes are emphasized with a covering of splendidly shaded orange sindoor (color powder) glue. Connected to this stone murti are four arms made of silver. As per iconographical tradition, her exited hands hold a khadga (sword) and a disjoined head, while her right hands show the mudras (hand signals) of passing on courage and offering shelters. Another critical trait of the goddess - her lolling tongue is spoke to here with a brilliant adornment. The valuable metal has been pounded and molded into the type of a broadened tongue grasped by the upper line of teeth.The murti is further enhanced with a silver crown, wrapped in sari fabric, and wreathed in various blossom festoons. Kalika additionally wears pieces of jewelry of steel, beaded with the cast metal heads of human guys. These all around made, itemized embellishments consolidate with the solid dark stone model to make a picture of the goddess that is both amazing and intense to see.
The statue rests upon a rectangular platform, the front of which is embellished with a silver help of a recumbent Shiva. In human pictures of Kali, we ordinarily locate her remaining upon her leaning back spouse, Lord Shiva. Here, in this more theoretical representation, that part of her iconography has been cunningly consolidated into the base of the statue.
This concealed picture of the goddess was not designed with human hands, but rather was made by nature, and is thusly portrayed as the self-produced, or svayambhu picture of Kalika. Recognized as one of the toes from Sati's correct foot, the adi rup (unique structure) is said to have fallen at this shakti substance, and is hidden inside of the platform whereupon the Kalika murti stands. The silver leaning back Shiva help that I saw while putting my head at the goddess' feet is, actually, the improving face of a lockbox.
Kalika's adi rup is evacuated on the full moon day of the Hindu lunar logbook month Joishtho (May 21 - June 22) when it is ritualistically washed for the yearly event known as snanjatra (showering celebration). A profoundly undercover custom happens inside of the inward sanctum behind fixed entryways, went to by just four individuals from the Haldar gang. With awesome consideration, the first, svayambhu type of Kalika is expelled from its lockbox by the shebaits who stay blindfolded all through the whole continuing; it is generally held that this murti is too intense for look of mortal eyes. Fabric wrapping from the earlier year is deliberately uprooted and Sati's toe is showered with a blend of substances, for example, Ganga water and scented oils, before being crisply dressed and set again inside of its defensive walled in area. Devotees throng to the temple on this day, planning to gather a bit of the more established fabric wrapping or a portion of the goddess' packaged snan-jol (bathwater)–items which are viewed as particularly hallowed.
Nakuleshwar Bhairav(Consort of Kalika)
Similarly as with each of the fifty-one focuses of force recorded in the Mahapithanirupana, the goddess of Kalighat is connected with a particular male consort (Sirkar). The absolute Tantrik accentuation on the imaginative interaction of alternate extremes discovers its look in the shakti essence mythos with the matching of every Shakti with a neighbourhood savage sign of her spouse Shiva. Coupled together like a lingam and yoni, the female force of Kalika is complimented by the manly vitality of Nokuleshwar Bhairav. While it appears that much of the time this advantageous blending of Shaktis and Bhairavs is to some degree self-assertive, the mandirs of Kalighat and Nakuleshwar Bhairav do offer a stamped level of cohesiveness as both are controlled by the Haldar family.
The Bhairav Temple's inside comprises of an extensive open room, the focal point of which is commanded by a raised marble stage that is generally hexagonal fit as a fiddle. At every edge of this six-sided stage, an enriching fluted column scopes to the roof. Circumambulating this mandir conveys you to a hallowed place on the eastern divider that houses a roughly three foot tall stone murti of Shiva's elephant-headed child, Ganesha. To one side of Ganesha are two models of Shiva's bull vahana (holy vehicle), Nandi. Guests to the temple give offerings of sindoor and marigold blooms to these divinities.
Amidst the temple's focal stage there is an expansive adjusted opening, dubiously triangular fit as a fiddle. Confined about with rectangular marble tiles, this opening is set down into the temple's floor. Inside of this opening, the Shiva lingam that encapsulates Nakuleshwar Bhairav is housed and customarily venerated. So as to touch this lingam, lovers must hunker low or lay level against the floor and extend their arms to venture into the opening. This lingam is a cleaned dark round and hollow stone which rests in a solid yoni base. A metal cobra, with its tail curled around the lingam and its body amplifying upward, raises its hood to shape a defensive shelter above Nakuleshwar Bhairav. The yoni base slants toward a channel which goes through the whole length of the mandir to the outside. This configuration is utilitarian, permitting waste for the bounteous drinks of water and drain which are routinely poured upon the lingam amid custom love. Blossoms, bilva leaves, incense, and different blessings are offered to Nakuleshwar.
Legend and Stories
Kalighat is viewed as one of the 52 Shakti Peethas of India, where the different parts of Sati's body are said to have fallen, over the span of Shiva's Rudra Tandava. Kalighat speaks to the site where the toes of the right foot of Dakshayani or Sati fell. Legend has it that an enthusiast found a luminant beam of light originating from the Bhagirathi stream bed, and after researching its source happened upon a bit of stone cut as a human toe. He likewise found a Svayambhu Lingam of Nakuleshwar Bhairav adjacent, and began worshiping Kaali amidst a thick jungle.
The temple is connected with the Nath/Siddha custom. Chowringee Natha is said to have established the Kali temple of Kalighat. Chowringee Natha was a Nath Siddha and a pupil of Gorakshaknatha otherwise called Goraknatha. Legends say that Chowringee Natha was the child of King Devapala of Bengal. Devapala`s first wife passed on while Chowringee Natha was still a kid, and his dad wedded a lady who depended on trickery keeping in mind the end goal to place her own particular child on the throne. Chowringee Natha was taken to a woods clearing where his arms and legs were cut off. Here Chowringee Natha met Matsyendranatha who educated Gorakhnatha to administer to the limbless youth. Gorakhnatha taught him Yoga and following twelve years of this practice his appendages were unimaginably restored by the force of his own acknowledgment.
His name Chowringee Natha presumably is gotten from "Four Limbs(anga)", and the state of his middle as a globule. This state of his body potentially alludes to his routine of Khanda Manda yoga. The principle north-south avenue over the city of Calcutta is currently referred to after his name as Chowringee. This family is likewise said to have manufactured the Chitreswari Kaali temple at Chitpur. It is trusted that there was a pathway through the wilderness in the middle of Chitpur and Kalighat, and this pathway is said to have turned into the Chitpur street of Calcutta.
The Dakshineswar Kaali temple opposite the stream, close Belur Math, bears a picture of Kaali adored by the otherworldly pioneer Ramakrishna Paramahamsa, master of Swami Vivekananda. By sacred text called "Pithamala's Nigamatantra"the limitless bow molded area extending from Dakshineshwer to Bahulapur i.e. Behala is the Kalikhetra or Maa Kali domain of Kali. The center triangular locale, roughly 1 krosha have Brahma, Vishnu and Shiva on the three internal corners and Devi Kalika at its middle. Nakuleshwar Bhairava and Ganges stays one next to the other at this altar. Starkness of the district parallels that of Kashi (Venaras).
All types of Hindu Mother Goddess like Bhairavi, Bagala, Bidya, Matangi, Kamala, Brahmi, Maheshwari and Chandi will dependably exist at this area. Living creatures whoever will breath its last at this area will be assuaged of all transgression. In the second century AD Ptolemy's India has a reference of a spot called Kaligrama. Almost 2000 years back another written work called Bhabishya Purana additionally alludes to a Kali temple close Gobindapur town at the bank of Ganges.
Kalighata may have been arranged as ahead of schedule as the season of the Guptas,as coins of the time was uncovered from the area. Toward the end of the Buddhist suprimacy at Bengal Tantric factions got to be dynamic. Amid the time conduits was the regular exchanging courses. For this reason waterway Adiganga (old course of Ganges), touching Kalikhetra was an imperative course to Bay of Bengal. These merchants used to offer pujas to the different temples arranged at both the banks, among these that of Kali was most imperative to them.
In the midst of the thick woods the bank from which vehicles expel and arrive was termed continuously as "Ghat" or dock. The stream as Kaliganga and the area came to be known as Kalighat. Kalighat was around then a little hovel like structure with an angry symbol of Kali in it and a thick wilderness around. The present Dakshina Kali icon in touchstone may have been a production of two holy people called Brahmananda Giri and Atmaram Giri. It was they who found fossils of fingers of Devi Sati's feet from the lake called Kalikunda.
This revelation made Kalighat as one of the 51 places of worship or Pithas of admirers of Shakti or mother goddess, where areas of Sati’s body were tossed at the season of Tandava. Those fingers (as indicated by some stand out finger) were still protected in a silver box under the icon, at the north-east corner. Saborno Chaudhuries of Borisha remade the temple to its present structure. It was under Raja Santosh Roy chaudhuri of Saborno Chaudhuri genealogy that present day temple development was begun around end of 1798.
In its initial days, after death of Brahmananda and Atmaram Giri, the "Mohonto" framework (primary pupils among the holy people picked as Priest) was polished at Kalighat. Amid the season of such a supporter, Bhubaneswar Giri the first change happens. He kept a lady called Yogamaya as his sidekick or Bhairavi as called by traditions. Yogamaya passed on at an early age not long after bringing forth a girl called Uma. As Uma accomplished the time of marriage Bhubeneswar gets divine direction to give marriage of Uma and to proceed adore by her spouse as the mother goddess is no more ready to get offerings from the hands of self-denying clerics.
From that point onwards all sebayats (individuals who make their living out of revering) of Kalighat are hitched. In the meantime another supernatural occurrence happened. A man called Bhabanidas Chakraborty looking for his Kali admirer father came to Kalighat. On Bhubaneswar he settled there, wedding Uma and turned into the initially wedded cleric of Kalighat taking after the Divine direction.
Bhabanidas was himself a Vaishnava and in course of time set up his family icon of Vasudeva on the west side of the primary temple. One day he had a fantasy that the Mother is willing to have an enhancement of sandalwood glue or what is known as "Tilaka"(usually utilized by Vaishnavas or admirers of Vishnu). In the following minute at the temple he found the symbol to have an unfinished embellishment of sandalwood glue and the deposit glue in the holder with signs of vermilion in it and lay spilled on the whole room. The Vashudeva symbol was painted with both sandalwood glue and vermilion.
Kalighat Kali Temple's History
It is essential to comprehend the historical backdrop of the temple so as to comprehend the customs and hones that are predominant today. The Kalighat temple in its present structure is just around 200 years of age yet it has been said once in fifteenth century in Mansar Bhasan and again in the seventeenth century in Kavi Kankan Chandi. The confirmation of this current spot's antiqueness was showed when Chandragupta II's Archer sort coins (which turned into the celebrated coinage amid that period) were found in Kalighat. The first temple said to be a little shack arranged at the old course of the waterway Hoogly was initially built by King Manasingha in the mid sixteenth century. Be that as it may, the present temple was built up under the grant of Sabarna Roy Chowdhury of Barisha. The consummation occurred in 1809.
The temple has likewise seen columns of debate for its proprietorship between Banerjee family and Halder gang.The Banerjee family gave in their possession position in the 1990s and from that point forward the Halder family has turned into the sole proprietor of the temple.
The Kalighat temple in its present structure is just around 200 years of age, despite the fact that it has been alluded to in Mansar Bhasan created in the fifteenth century, and in Kavi Kankan Chandi of the seventeenth century.
The first temple was a little cottage. A little temple was built by King Manasingha in the mid Sixteenth century. The present temple was raised under the support of the Sabarna Roy Chowdhury group of Banisha. It was finished in 1809.
In the nineteen sixties a board of trustees was framed for the authoritative administration of the temple with representation from the Government and the Haldar gang.
There is a general queue which is free. There is a V.I.P and Staff queue which is a special service.There are two queues, one which goes to the Garbha Graha, and the other offers darshan from the verandah.The queue going to the Garbha Graha is more orderly, and is controlled by security guards and police men. The queue for the Varandah is controlled by Dalals and Pandas and they allow people to enter at different points. One can have better Dharshan in the Garbha Graha and it does not take long.
The temple is crowded on Tuesdays, Saturdays and Sundays. It is less crowded before 8:00 AM. Avoid taking cell phones and digital cameras to the temple. Do not carry a heavy wallet or purse openly. Carry enough change in the form of 10 rupee notes, 50 rupee notes and 100 rupee notes. People end up by shelling out 100 rupees where 10 rupees would have been sufficient. When you enter the Temple, you will be approached by persons who will promise you a quick Dharshan. These people have very little to do with the temple itself. Engaging them is at your own risk and discretion. Inside the temple, only a Bhattacharya Priest is qualified to do the Puja at the time of the Puja. Others who stand before the deity are all employees of the Phaledar. There is always a crowd inside the Garbagraha.
One may visit the Kalighat Temple on all days of the week from 5:00 AM to 2:00 PM and 5:00 PM to 10:30 PM. The temple is closed from 2:00 PM to 5:00 PM everyday for Bhog. The temple schedule is as follows. The Opening Time for Mongal Aarti is at 4:00 AM, but the opening time for the public is 5:00 AM. The Nitya Puja stretches from 5:30 AM to 7:00 AM, and the Bhog Rag is from 2:30 PM to 3:30 PM. There is a Sandhya Aarti from 6:30 PM to 7:00 PM. The temple closes at 11:30 PM on Saturdays, Sundays and Tuesdays. On all other days, it closes at 10:30 PM.
The special and best time to visit
Tuesdays and Saturdays are special days for worship at the temple. Ashtami days are also special. To avoid crowds, the best day to visit is Wednesday or Thursday.
1. The temple is just 200 years of age yet it draws in gigantic mass of enthusiasts and visitors.
2. It had been specified in Mansar Bhasan (an old sacred text) which was formed in the fifteenth century, and in Kavi Kankan Chandi of the seventeenth century.
3. The name "Calcutta" has been said to have gotten from the word Kalighat.
4. Kalighat is one of the 4 fundamental Shakti substances (Adi Shakti Piths) in India. The other three primary Shakti essences are Kamakshya, Bimala and Tara Tarini.
5. By, at Kalighat, Sati's toes of right foot fell however numerous say that just the little toe of right foot had fallen at Kalighat.
6. The picture of Kali in this temple is entirely special as it doesn't take after the example of Kali pictures.
The first temple was being assembled by Raja Basanta Roy, who was the uncle of Pratapaditya and the King of Jessore (Bangladesh). The first temple was sited on the banks of Hooghly; however the waterway has moved far from the temple with the timeframe. In the previous days, dealers used to take stop at Kalighat to pay their deference to Goddess Kali.
Arranged on the banks of Adi Ganga, the temple has a sanctorum in the organization of a tremendous lobby by the name of Nat Mandir. In the north-east of this sanctum, there is a Shiva Temple. There is one more hallowed place devoted to Radha Krishna. The fundamental fascination of this temple lies in the picture of Goddess Kali that bears a since quite a while ago distended tongue made out of gold.
The primary holy place of the temple complex includes the picture of Goddess Kali. The picture of the divinity seems deficient. On the introductory level, the substance of the goddess was made and facilitate tongue and hands made of gold and silver were added to the picture. Upon the arrival of 'Snan Yatra' (Bathing Ceremony), the ministers cover their eyes with material strips, while giving the stylized shower to the Goddess. Celebrations like Kali Puja, Durga Puja, Poila Boishakh, the Bengali New Year day and Sankranti witness colossal number of enthusiasts at the temple with offerings.
Kolkata is well connected by air to all major countries in the world, as well as to Indian cities.Netaji Subhash Chandra Bose International Airport is 20 km from city centre. There are a number of domestic airlines that connect Kolkata with other major cities of India like Ahmedabad, Bagdogra, Bangalore, Bhubaneswar, Chennai, Delhi, Guwahati, Hyderabad, Jaipur, Lucknow, Mumbai, and Port Blair.
The air carriers that have flights to and from the city include Aeroflot, Air France, Air India, Biman Bangladesh, British Airways, Cathay Pacific, Gulf Air, Indian Airlines, Japan Airlines, Jet Airways, KLM-Royal Dutch Airlines, Royal Jordanian Airlines, Royal Nepal Airlines, Singapore Airlines and Thai Airways International.
Trains are available from all parts of the country to Calcutta. There are super-fast trains like Rajdhani Express and Shatabdi Express that join Calcutta from Delhi and other nearby places. Most inward bound trains stop at Howrah, which is also the station from which major trains to other cities depart. Most trains heading to areas such as New Jalpaiguri and other provinces in the north-east stop at the other station, Sealdah. Local trains to nearby towns are available from both stations, depending on which part of West Bengal people want to go to.
The city of joy is well linked with almost all the cities of India by road. The Esplanade Terminus is the main bus terminus that lies in the heart of the city. The latest development is the starting of Dhaka-Calcutta buses, which are fully air-conditioned and also very comfortable. A few buses ply from Orissa and Bihar to Calcutta.Buses are also available to nearby towns, especially if travellers wish to visit Siliguri and New Jalpaiguri on the trip to Calcutta. Depending on which direction you're heading in, buses could depart from the end of the Maidan near Chowringhee Road, or the bus stand at Babu Ghat near Fort William. A few tour operators have their own private bus stands, so do make inquiries.
Kalighat Kali Temple,
Kalighat Road, Kolkata,
West Bengal, India.
Pincode – 700026.
Devotees visit this temple to seek fulfillment of the following:-
- Protection from evil
- Destruction of ego
Jayantii Manggalaa Kaalii Bhadrakaalii Kapaalinii Durgaa Shivaa Kssamaa Dhaatrii Svaahaa Svadhaa Namostu Te
Meaning -We salute the Devi Kali, who is always victorious and always auspicious, we offer salutations to Bhadrakali Devi who wears a skull garland, we salute Shiva's consort and the embodiment of self-control and supports all beings, Devi Durga, who is Swaha as well as Swadha. We offer our salutations to you.
Om Maha Kalyai Ca Vidmahe Smasana Vasinyai Ca Dhimahi Tanno Kali Prachodayat
Meaning -Om the great Goddess Kali who stays in the ocean of life and burial grounds, we focus our energies on you, may you grant us our wishes and bless us
Kaalika Kalahey Gorey Paathuthvaam Parameshwari Mandapey Thathra Mathangi Thatha Sowmya Swayamwarey
Meaning -Let the ever charming, mother of the universe, protect us and stay in this mandap and bestow her blessing on us as mother Mathangi.
Katyayani Mahamaye Mahayoginyadheeshwari Nandgopsutam Devipatim Me Kuru Te Namah
Meaning -Oh Goddess Katyayani, the great vigour of the Lord, the owner of great magical power and the mighty one who controls all, please make the son of Nanda Maharaj my husband. I offer my salutations to you.
5:00 AM to 2:00 PM and 5:00 PM to 10:30 PM