The Arrival of Shree Bhadrakali Devi in Ganeshpuri

 

Shree Bhadrakali arrives in Ganeshpuri

1. Two Shaktis with Bhagavan Nityananda

Bhagavan Nityananda, though an Avadhuta and beyond form and attributes, was accompanied by dynamic aspects of Shakti—Cosmic Energy manifesting in female divinity. These Shaktis did not merely follow Him but were integrally connected to His spiritual mission and presence.

Mahasati – Mastikatta, Ankola

Mahasati was a powerful presence located in Mastikatta, near Ankola in coastal Karnataka. She is perceived as a guardian energy and as Iccha Shakti—the power of Divine Will—who silently watched over Bhagavan Nityananda’s early leela during His years of wanderings through the forests and coastlines. Her stationing at Mastikatta, a secluded and sacred spot, made her the protector of His unmanifest work before He became known to the wider world. Many locals revered her as the ‘silent witness’ to Bhagavan Nityananda. A temple with idol of Bhagavan stands at this place

Bhadrakali – Outskirts of Ganeshpuri

Bhadrakali, a fierce and compassionate form of Devi, was enshrined near Ganeshpuri, where Bhagavan later took residence. Bhadrakali’s presence marks the Kriya Shakti or transformative power, reflecting the intense purification and upliftment devotees underwent in Ganeshpuri. Her energy complemented Bhagavan’s silent presence, burning away karmas and aiding in the inner churning (manthan) necessary for spiritual awakening. She was both a guardian of the sacred Ganeshpuri space and a dynamic conduit for Shakti to manifest in the lives of His devotees.

Gokarna Bhadrakali

Shree Bhadrakali followed Bhagavan Nityananda from Gokarna, Karnataka

Tribuneshwari Temple, Bora Bazar, Mumbai, where the statue of Devi was installed by Shree Shaligram Swami

2. With Shree Shaligram Swami – Kulloor Mukambika and Tribhuneshwari Devi

Shree Shaligram Swami, an ardent disciple of Bhagavan Nityananda, was not merely a Bhakta, but a Tantra Sadhaka who understood and invoked the Mother’s force with great precision and reverence.

Kullor Mookambika

Shree Mukambika – Kulloor & Mahula Ashram

Shree Shaligram Swami had a deep connection with Shree Mukambika Devi of Kollur, a highly revered form of Parashakti combining Saraswati (knowledge), Lakshmi (abundance), and Durga (power). He invoked and installed Shree Mukambika in his Mahula Ashram, not just for worship, but as a living presence to energise the space with Divine Wisdom and grace. This installation was akin to anchoring the Jnana Shakti in the Ashram.

Shree Tribhuneshwari Devi – Paydoni, Mumbai

Swamiji also installed Shree Tribhuneshwari Devi in Paydoni, Mumbai—a bustling area filled with devotees, many of whom sought practical blessings and protection. Tribhuneshwari, as the Mistress of the Three Worlds, symbolised a broader vision of Devi’s supremacy and her accessibility in everyday urban life. She carried the Sankalpa Shakti—the power to shape and fulfil spiritual intentions in devotees.

3. With Shree Swami Janananda: Mahakali – Near Kanhangad Ashram

Shree Swami Janananda, another radiantly realised disciple of Bhagavan Nityananda, was anchored in supreme stillness, yet his work carried the undertone of fierce inner transformation.

Mahakali – Stationed beside Kanhangad Ashram

Mahakali, stationed near his Ashram in Kanhangad, represented Time (Kala), the Destruction of Ego, and the Power to Cut Through Illusion (Maya). Her placement beside the Ashram was no coincidence—Kanhangad was a high-energy spiritual vortex, and Mahakali served as the guardian of the gateway to the inner realms. She ensured that only the sincere were drawn in and that the energy of the Ashram remained pure, potent, and protected. Swami Janananda’s silence mirrored Mahakali’s dynamic stillness—a state of transcendence beyond fear and duality.

Thus,

The presence of these Shaktis across the landscapes of Bhagavan Nityananda’s work and His disciples’ ashrams is a profound reflection of the interplay of Purusha (consciousness) and Prakriti (energy). Bhagavan, as the supreme Purusha, remained the changeless, silent witness, while the Devi forms around Him expressed His active Grace. Whether through Bhadrakali’s fierce compassion, Mukambika’s integrative wisdom, or Mahakali’s ego-destroying force, these Shaktis fulfilled the cosmic dance of bestowing liberation, protection, and transformation.

Bhagavan Nityananda, ever rooted in the highest non-dual awareness, also profoundly respected and honoured the manifestations of Shakti, the dynamic aspect of the Divine. In His subtle guidance to countless devotees, He often emphasised the sanctity of the surrounding spiritual landscape, particularly the sacred triad of goddesses enshrined in Vajreshwari. For those journeying to Ganeshpuri, He would often insist:

“First, go to Vajreshwari. Take darshan of the three goddesses. Then come to Ganeshpuri.”

This was not mere ritual advice. Bhagavan, though Himself beyond all forms, honoured the Divine Mother’s presence as the preparatory grace, the protective field, and the purifying force that made the seeker ready for deeper inner work. Vajreshwari Devi, the presiding deity of that region, is no ordinary form of Shakti. Her gaze is said to pierce through karma, dissolve inner impurities, and establish the foundation of shraddha (faith), shuddhi (purity), and shakti (spiritual energy).

The House Across from the Temple: A Living Mandala

Shree Sitaram Shenoy desired to remain close to Bhagavan Nityananda. He chose to build a house opposite to Shree Vajreshwari Temple. Shenoys, as a joint family, lived in this house.  It was common for a newlywed woman to find it difficult to adjust to a large joint family. She used to undergo emotional turmoil. Our house, situated directly opposite the Vajreshwari Temple, is not just a home—it is a living extension of the sanctum.  Bhagavan once said to my auntl:

“Why are you worried? The Goddess Vajreshwari’s benevolent sight is on the house. You will always be taken care of.”

To my aunt’s father, Bhagavan said, “Why are you worried about your daughter? She is protected by Vajrabai. Everything shall be fine with her.” This was not casual reassurance, but a profound recognition of the sacred protection enveloping your family. His words reflect the Vajra Drishti—the thunderbolt-like gaze of the Goddess—that dissolves obstacles, shields from harm, and bestows fearlessness to those under Her grace. As foretold by Bhagavan, she sailed comfortably over all challenges and lived happily.

Yet, Bhagavan’s message carried a deeper implication. His blessings were never a license for complacency. To live under Devi’s gaze is to live with heightened awareness. It is to live in such a way that one becomes worthy of Her constant presence. Bhagavan’s unspoken teaching was clear:

Benevolent protection invites sacred responsibility.

One must uphold the values of integrity, inner sanctity, spiritual discipline, and selfless living to remain in tune with Her. The house, thus, becomes a kula mandir, a family shrine, and every action taken within it must befit the sanctity of such divine proximity. These were the basic demands on the Shenoy family living in that house under the gaze of Shree Vajreshwari Devi. We needed to lead our lives maintaining a high degree of spiritual integrity to be worthy to remain under Her benevolent gaze.

Elder Sister of Bhadrakali –  A Cosmic Relationship

Bhagavan also shared an intriguing insight into the Divine Feminine hierarchy when He said, to my aunt mentioned above:

“Vajreshwari is the elder sister of Bhadrakali.”

This statement opens a window into the mystical relationships between different forms of Shakti. Vajreshwari, fierce yet benevolent, holds the higher administrative power, the sovereign grace that reigns over the region. Bhadrakali, who resides on the outskirts of Ganeshpuri, is Her younger sister, a more dynamic, fiery form—the executive force who acts swiftly, dissolving tamas (inertia) and facilitating spiritual transformation.

By establishing this cosmic sisterhood, Bhagavan emphasised that the journey from Vajreshwari to Bhadrakali, and finally to the feet of the Parabrahma in Ganeshpuri, mirrors the aspirant’s path: from purification and alignment, to inner burning and transformation, and finally to absorption in the silent Self.

Ganeshpuri-Vajreshwari Axis: A Sacred Corridor

The Vajreshwari temple, the Bhadrakali shrine, and Ganeshpuri together form a sacred triangle, an energetic corridor, where Devi and Shiva, form and formless, shakti and Shanta (stillness) coexist and support the seeker’s journey. Bhagavan’s insistence on visiting Vajreshwari first is a subtle instruction to begin where the mind is calmed, the ego softened, and Grace is invited.

Thus,

To get to live across the Vajreshwari temple is no mere coincidence—it is a spiritual calling. And Bhagavan Nityananda’s affirmation was both a blessing and a reminder:

Protection is Grace. But Grace blossoms fully only in a life of purity.

The house under Her gaze becomes a guardian flame, a space where Dharma must shine brightly, and where each action, word, and offering echoes the sanctity of being watched over, not just by stone idols but by Divine Consciousness itself.

The Divine Enshrinement of Bhadrakali in Ganeshpuri: A Sacred Lila of Shakti and Shiva

Among the many sacred episodes in the history of Ganeshpuri, none is more evocative of the deep interweaving of Guru, Shakti, and Bhakta than the origin of the Bhadrakali Temple. This narrative does not merely recount the consecration of a deity, but unveils a cosmic drama, choreographed by Bhagavan Nityananda Himself, wherein the Divine Mother is not only invoked, but enthroned, served, and revered as a sovereign Queen.

From Ankola to Ganeshpuri: The Journey of the Mahasati

The divine saga begins with a Mahasati (great female ascetic) residing in Ankola. She lived in deep tapasya in a modest shrine, her sanctity silently radiating across the land. Over time, her simple abode was transformed into a small temple, which later became a shrine dedicated to Bhagavan Nityananda, with a murti (statue) of the Avadhuta being established there. This silent transformation reflected a deeper truth—that wherever the Devi’s tapasya is honoured, the Guru naturally manifests, and where the Guru abides, the Divine Feminine thrives.

In Ganeshpuri, Bhagavan Nityananda Himself took the initiative to build the Bhadrakali Temple. It was not through grand speeches or formal consecrations, but through His silent sankalpa (divine will), that He embedded a statue of Bhadrakali Devi into the temple wall. This embedded form—compact, fierce, and yet deeply compassionate—continues to preside over the sanctum to this day. Later, a second idol was installed before the original, further embodying Her presence as both the inner indwelling force and the outer, accessible deity.

The Devotion of Hingwala: A Bhakta Called to Serve

Among those closely connected with this divine temple was Shri Hingwala, a prosperous businessman and devout follower of Bhagavan Nityananda. Known for his popular brand “Nag Chap Hing,” Hingwala was not merely a trader in spices, but a bhakta whose wealth was offered in service of Dharma.

One day, Bhagavan turned to him and asked gently,

“Hingwala! Will you make an offering to Bhadrakali?”

Without hesitation, Hingwala replied,

“Bhagavan, if you ask, I shall do it.”

It was this simple statement—grounded in faith, not knowledge—that set into motion one of the most awe-inspiring Shakta rituals ever performed in Ganeshpuri: the Rajas Upachar Pooja.

Unacquainted with this ancient and intricate ceremony, Hingwala sought Bhagavan’s guidance. Bhagavan, with his characteristic brevity, said:

“Go to Benares. There you will find a priest who knows.”

Benares: The Search for the Right Priest

Obedient to his Guru’s word, Hingwala journeyed to Kashi (Benares)—the eternal city of Shiva—seeking a learned priest versed in the Rajas Upachar Vidhi. Upon meeting the head of a reputed priestly lineage and expressing his intent, Hingwala was met with disbelief. The priest chuckled and asked,

“Do you even know what this ritual entails?”

With humility, Hingwala admitted his ignorance but offered the one thing that mattered:

“I only know that my Guru has asked for this. If you must test anyone, test Him, not me.”

Moved by his sincerity, the priest agreed—but only after meeting the Guru himself.

The Test of the Guru: Language, Simplicity, and Revelation

Arriving at Ganeshpuri, the priest found Bhagavan Nityananda seated simply, wearing only a langoti, his demeanour that of an ordinary mendicant. Doubting his divinity, the priest began speaking in fluent Sanskrit, expecting to stump the ascetic. Bhagavan responded in flawless Sanskrit. The priest then switched to colloquial Banarasi Hindi—again, Bhagavan answered without hesitation. The priest, awestruck, realised that he was not in the presence of an ordinary man, but a being of limitless knowledge and divine stature.

Overcome with reverence, he prostrated before Bhagavan and declared his readiness to perform the grand ritual.

Rajas Upachar: Worship of the Goddess as Sovereign Queen

The Rajas Upachar Pooja is one of the most elaborate and regal forms of Devi worship in the Shakta tradition. Unlike ordinary pujas, this ceremony enacts every aspect of royal life for the Goddess—from her morning awakening to her nighttime rest. Each detail is attended to with royal dignity:

• Her throne, mirror, comb, and bed are made of gold or silver.
• She is adorned with fine silks, ornaments, and fragrant perfumes.
• Her meals are prepared as for a queen, served with ceremonial precision.
• A royal procession follows, with her image carried in a palanquin, surrounded by attendants, musicians, and ceremonial guards—all represented in gold or silver effigies.

This living theatre of devotion transforms the temple into a palace, the priest into a royal chamberlain, and the devotees into loyal subjects of the Divine Empress.

In the 1950s, the cost of such a ritual was estimated between Rs. 60,000 to Rs. 75,000—a vast sum at the time. But when Bhagavan turned to Hingwala with the question of cost, the latter bowed and said:

“Your wish is my command.”

With unwavering faith, Hingwala made all the necessary arrangements.

Bhagavan visiting Bhadrakali

The Day of the Pooja – The Queen Visits Her Mahakal

On the appointed day, the Rajas Upachar Pooja unfolded in Ganeshpuri in all its splendour. At that time, only the original, wall-embedded idol of Bhadrakali existed. She was worshipped with majestic grace—awakened, bathed, adorned, and entertained with music, dance, and food.

As evening approached, the royal procession commenced. Bhadrakali Devi, placed in a beautifully decorated palanquin, was paraded through the village like a monarch surveying Her realm. The streets echoed with chants, drums, conches, and the fragrance of devotion.

The climax of this sacred play was the visit of the Goddess to Her consort, Mahakal—Bhagavan Nityananda Himself, seated in Kailash Bhavan, directly across the temple. When the palanquin entered, Bhagavan sat in majestic stillness, embodying the timeless Shiva principle. The palanquin was placed at His feet, signifying the divine reunion of Shakti and Shiva—Bhadrakali and Mahakal.

It was not a ritual alone—it was Lila, the cosmic play made visible.

Legacy of the Ritual: A Temple Alive with Grace

This moment remains etched in the hearts of those who witnessed it. It was not only the grandest ritual ever performed in the Bhadrakali temple, but a living testimony to the Guru’s grace, the bhakta’s surrender, and the Goddess’s compassionate descent into the world of men.

The Bhadrakali Temple today stands as a silent witness to that timeless event. Both statues—the original embedded form and the later-installed murti—remind devotees of Her dual presence: deeply within and clearly without. She is the still flame behind the wall, and the dancing fire before the eyes.

And at the centre of it all, as always, is Bhagavan Nityananda, the Avadhuta who weaves together the unseen and the seen, the formless and the form, the Mother and the Self.

Bhadrakali and the Divine Presence of Bhagavan Nityananda

It was a moment so rare and sanctified that even celestial beings would descend to witness it—Bhadrakali standing with folded hands at the Lotus Feet of Bhagavan Nityananda, the Adinath. In that sacred atmosphere, a powerful current of divinity and bliss enveloped the devotees present. It was not merely a ritual; it was the visible unfolding of Shivshakti, the primordial union of divine consciousness and energy. An aarti was performed with deep reverence to Mahakal-Nityananda and to Bhadrakali, symbolising the balance of the cosmic forces—Shiva and Shakti.

To this day, this sacred relationship is honoured. Every Thursday, and especially on auspicious occasions like Gurupurnima and Datta Jayanti, when the Palki (processional palanquin) of Bhagavan Nityananda arrives at Bhadrakali’s temple, the goddess Herself comes forth from Her sanctum to perform aarti to Bhagavan. She offers Him sweets, and only after Bhagavan’s palki proceeds does Her own aarti take place. This tradition reaffirms Her devotion to the Guru, to the Mahayogi, and demonstrates the deep cosmic bond between the two.

Bhadrakali’s Request

In one such divine encounter, Bhagavan turned to Shri Hingwala and said, “Bhadrakali is asking for a place. Will you give it to her?”

Without hesitation, Hingwala replied, “Bhagavan, your wish is my command. I will follow your will.”

Bhagavan then clarified, “She wishes to reside in your wife.”

This was no ordinary request—it was an invitation for Bhadrakali to manifest in human form, to reside as divine Shakti in a living woman. It meant that Hingwala’s wife would carry the divine energy of the goddess, assuming the role of Bhadrakali Swaroop. With unwavering faith in the Guru, Hingwala bowed at Bhagavan’s Feet in acceptance.

Following this, the statue of Bhadrakali was ceremonially placed on Mrs. Hingwala’s head, and she was ritually accepted as the living embodiment of the goddess. Once the divine darshan was complete, Bhadrakali returned to Her temple. As was traditional in the Rajas Upachar Pooja—the royal form of worship—the remaining rituals befitting a queen were performed: entertainment, a ceremonial meal, betel leaves, and light music to lull the deity to rest.

The Dream and the Need for a New Idol

That very night, Bhadrakali appeared in Mrs. Hingwala’s dream. Her voice was firm:
“You did not give me any sarees to wear. You just showed them to me and kept them back.”

Since the existing wall-carved image of Bhadrakali could not be dressed in actual garments, the sarees had only been touched to the image symbolically. Yet the goddess was not appeased. This dream repeated several nights in a row.

Disturbed, the Hingwalas approached Bhagavan Nityananda and narrated the goddess’s complaint. Baba listened and then instructed, “Make a new statue for Bhadrakali, one that can wear sarees and ornaments.”

He then summoned Shree Kuttiram Swami and entrusted him with the responsibility of finding a sculptor. Kuttiram Swami, who had once run the Nandeshwar Hotel, was an important figure in Ganeshpuri’s development. After renouncing worldly life, he transformed his hotel into a small ashram, located to the left of the rear entrance of Bhagavan’s Samadhi shrine. Kuttiram had facilitated numerous activities in service of Bhagavan, including making land arrangements for what would eventually become Ganeshpuri’s temple complex. In many ways, he was Bhagavan’s Man Friday—trusted, capable, and silently working behind the scenes.

Bhagavan Mistry, who was responsible for many constructions in and around Ganeshpuri, was a short and slim man from Gujarat. He typically wore a pyjama, a long shirt, a half-sleeved jacket, and a brown cap. Bhagavan frequently employed him for various construction tasks. When Mr. Mistry asked for instructions on the placement of the new idol, Bhagavan drew a diagram on the floor and precisely indicated the spot, specifying the required distance from each wall, without using any measuring tools or geometry.

Despite the devotees’ faith in Bhagavan, some doubted his knowledge of the sacred architectural guidelines laid down in the scriptures. These guidelines are crucial, as mistakes in following them could reduce the temple’s power and bring negativity. Mr. Mistry shared his concerns with Kuttiram Swami and suggested bringing in an expert in temple construction for verification. Without informing Bhagavan, a consultant was called. After taking several measurements and calculations, the consultant identified the exact spot for the idol’s installation. To everyone’s amazement, it was precisely the same spot Bhagavan had indicated, without any tools, proving His Divine insight.

Once the spot was confirmed, a statue was made and installed. However, the process wasn’t complete until the goddess’s presence was invoked through the Pranapratishtha ceremony, which inducts Shakti-Prana, allowing Bhadrakali’s power to be accessible to her devotees.

Narayan Bhatji and the Pranapratishtha

The Bhadrakali idol originated from Gokarna, Karnataka, and it was no coincidence that a young priest named Narayan from the same region followed Bhagavan to Ganeshpuri. Bhagavan instructed Narayan to oversee the daily worship of Bhadrakali, who at that time was represented by only a statue on the temple wall. Narayan Bhatji, a strong, slim, and dedicated priest with long hair (a symbol for those who worship the Devi), was known for his powerful poojas. His devotion was such that during his arati, it often seemed as though the goddess herself was alive and present.

Narayan Bhatji was chosen to preside over the Pranapratishtha ceremony, which was conducted by the Hingwala family under Bhagavan’s direction. The night before the ceremony, Narayan Bhatji, along with Mr Hingwala and his family, slept on the temple veranda to be ready for the ritual at dawn. Late that night, they heard sounds resembling a battlefield—chariots, animals, trumpets, and drums—but when they stepped outside, there was nothing but darkness. Suddenly, they witnessed a glowing ball of light descending from the sky and entering the Bhadrakali statue. Astonished, they later recounted the event to Bhagavan, who confirmed, “She is Kailash Bhadrakali, who has manifested here.” To this day, the temple bears the name “Kailash Bhadrakali.”

In this way, Bhadrakali came to Ganeshpuri. Her wish to be adorned with a sari was fulfilled with the second statue, which allowed for this traditional draping.

The Goddess from Gokarn

Bhadrakali’s connection to Bhagavan Nityananda had deep roots. She had followed him from Gokarn, a revered pilgrimage site in Karnataka, known for the sacred Atmalinga of Shiva. It was said that Bhadrakali of Gokarn, recognising Bhagavan as Mahakal—the timeless Lord—had left her abode and accompanied him to Ganeshpuri.

In the early days, Ganeshpuri was a dense jungle with a sparse population and no electricity, shops, or formal transport. Baba had warned devotees not to visit the hot springs at night. Yet some curious visitors, on several occasions, heard the haunting music of a veena and saw a woman in white playing the instrument. When asked, Baba explained, “She is Gokarn Bhadrakali. She has followed This One here.”

Recognising her yearning for a permanent abode, Baba called Bhagavan Mistry, a skilled mason, and instructed him to build a temple for Bhadrakali and create her image on the wall. That was the original statue.

The Divine Sculptor

Now, Bhadrakali wished to stand, to be adorned and worshipped in her full form. Kuttiram and Hingwala searched far and wide, but no sculptor was suitable. Eventually, a man who worked with plaster of Paris arrived in Ganeshpuri. Kuttiram brought him to Baba, and the artist began the work. Yet by morning, the completed statue lay shattered, crushed from head to toe.

Kuttiram was heartbroken. But Baba simply laughed. The search continued, but still no artist met the mark.

Then, one day, a dishevelled and seemingly drunk stranger stumbled into Kuttiram’s place. As he sipped a drink, he casually mentioned that he was a sculptor. Kuttiram’s eyes lit up. He took him immediately to Baba.

Baba looked at the man and issued a strange command:
“Lock him inside the temple with a bottle of kerosene, a Patromax lamp, a large bottle of liquor, and all the necessary materials to make the idol. Do not open the door until he finishes.”

Kuttiram did as instructed. After several days, the doors were opened. There stood the statue—perfect, majestic, and complete.

The man was served breakfast and paid exactly one rupee and four annas, as instructed by Baba. He was then sent on a bus to Thane. But partway down the road to the stop, he vanished—disappeared without a trace.

Those who heard this tale were awestruck. Many believe that it was Lord Vishwakarma himself—the celestial architect—whom Baba had summoned for this divine work. Taking the form of a drunken vagabond, Vishwakarma had fulfilled his task unseen, just as he had once done while building the palaces of the gods.

The Living Form of Kali

Once painted, the new statue appeared too fierce. The devotees, intimidated by her intense, untamed expression, draped a silk cloth over her face and left it overnight. The next morning, the statue’s visage had softened, though it still retained the raw power and mystery of the Divine Mother.

In later years, the features were modified slightly to appear more compassionate. But in our childhood, we would often stare wide-eyed at her formidable gaze—awed, respectful, and just a little afraid.

The Consecration of the Idol

The new idol had to be installed in a spot chosen with precision. Traditional temple architecture relies on sacred geometry, scriptural guidelines, and energy alignment. No devotee would dare fix the place without consulting Bhagavan Nityananda.

When the time came, temple mason Bhagavan Mistry humbly approached Baba for guidance.

The Divine Arrival of Bhadrakali in Ganeshpuri

Bhagavan Nityananda, the silent yet omnipotent master of Ganeshpuri, guided the physical and spiritual development of the sacred village with subtle precision and divine insight. Among those who worked closely with him was Bhagavan Mistry, a humble, short-statured man from Gujarat. Slim in build and always modestly dressed in a pyjama, long shirt, sleeveless jacket, and a brown cap, Mistry was the silent force behind many of the village’s structures. He was a skilled artisan and a trusted figure whom Bhagavan would summon for construction works in and around Ganeshpuri.

One day, Bhagavan instructed Mr. Mistry to prepare for the installation of a new Bhadrakali idol, a powerful representation of the Divine Mother. When Mistry asked Bhagavan where the idol should be placed, Bhagavan squatted down and drew a diagram with His finger directly on the floor, marking the precise spot for the installation. He described the exact distances from each wall and the alignment needed—but notably, He used no measuring instruments, no compass, no geometry—only His bare hands and divine perception.

Though Mistry was a devotee and deeply respected Bhagavan’s wisdom, the precision required for temple architecture, according to Agama and Shilpa Shastra, was daunting. Sacred geometry in temple construction is not merely an aesthetic or structural concern—it is believed to govern the flow of energy and the awakening of the deity’s presence. An error could obstruct the vibrational power and even bring disharmony.

Disturbed by the responsibility and worried about the consequences of any error, Mr. Mistry confided his concerns to Kuttiram Swami, another close devotee. Together, they decided to bring in a professional temple architect to verify Bhagavan’s directive, but they did this without informing Bhagavan.

The expert arrived, measured, consulted the scriptures, and calculated. To everyone’s astonishment, his chosen point of installation was the exact same spot Bhagavan had drawn on the ground, down to the very last inch. The devotees were overwhelmed. It was a stunning affirmation of Bhagavan’s divine omniscience—that He not only knew, but transcended, the limitations of human knowledge.

Kumkum Archana at home

The Arrival of the Goddess and the Pranapratishtha

With the spot confirmed, a new idol of Bhadrakali was sculpted and installed. But the mere presence of a statue is not the culmination of consecration. A Pranapratishtha—a sacred ritual to infuse the deity with divine energy—was required. For this, Bhagavan turned to Narayan Bhatji, a young priest from Gokarna, Karnataka. Interestingly, the Bhadrakali idol too had originated from Gokarna. This was no coincidence—Bhagavan had mysteriously drawn Narayan to Ganeshpuri, foreshadowing his sacred role.

Narayan Bhatji was lean, strong, with long flowing hair—a mark of Devi worshippers. His devotion was palpable, his poojas intense. During the arati, many would sense a vibrant living presence in the temple, as though the goddess herself was manifest.

Bhagavan entrusted him with leading the Pranapratishtha ceremony, which was conducted under the auspices of the Hingwala family, devoted disciples of Bhagavan.

On the night before the ceremony, Narayan Bhatji, the Hingwalas, and a few other devotees slept on the veranda of the newly built temple to prepare for the early morning ritual. Around midnight, they were suddenly awakened by strange and powerful sounds—the din of a celestial battlefield: galloping horses, roaring beasts, clashing weapons, war drums and conches. Startled, they rushed outside—but the night was eerily still. No one was in sight.

Suddenly, before their eyes, a brilliant orb of light descended from the sky, slow and glowing, and entered the heart of the Bhadrakali statue. The group stood in awe. When they later recounted this to Bhagavan, He simply smiled and said, “She is Kailash Bhadrakali. She has come.” From that day onward, the temple became known as Kailash Bhadrakali Mandir—a place where the fierce grace of the Mother had taken form, drawn by Bhagavan’s sankalpa.

The Symbolic Sacrifice

Traditionally, temples dedicated to Kali or her fierce forms often practice animal sacrifice as a ritual of appeasement and power. But Bhagavan, though rooted in ancient dharma, transformed such customs into subtler, symbolic offerings aligned with the times and higher understanding.

During the Pranapratishtha, Bhagavan instructed Narayan Bhatji to prick his finger and offer a single drop of blood to the deity, thus preserving the essence of the rite while evolving its form. This consecration, simple yet potent, marked Bhadrakali’s full establishment in Ganeshpuri.

The Living Flame of Devotion: Narayan Bhatji

Until the end of his days, Narayan Bhatji served as the chief priest of the Bhadrakali temple. After Bhagavan’s Mahasamadhi, he briefly left for Kanhangad, but was drawn back to Ganeshpuri, his sacred duty unfinished.

I had the great blessing of meeting Narayan Bhatji many times. His evening arati was a spectacle of divine fervour. He would bathe in the Teja River, collect water from the hot springs of Bhimeshwar, and walk to the temple with a presence that seemed timeless. In the golden twilight, his copper-toned skin glowed, his long hair flowing down his back, and his erect yogic posture radiating strength and serenity.

During arati, as the drums and bells rang out, the face of Bhadrakali would seem to glow with life. It was as if the Devi danced in rhythm to Bhatji’s devotion. After the rituals, he would often whisper personal prayers on behalf of devotees, standing as a bridge between the suffering and the Shakti.

On Thursdays, when Bhagavan’s Padukas were brought in procession to the temple, Bhadrakali would be said to “rise” to receive Him. The arati on these days was not offered by the priest alone, but as though Bhadrakali Herself was worshipping Bhagavan.

The Devi’s Last Wish for Meat

In one remarkable episode, Bhagavan sat in Kailash with devotees, including the Hingwala family. Suddenly, young Mahendrabhai Hingwala began to dance wildly, possessed by an unseen force. Bhagavan revealed that Bhadrakali had entered the boy.

Through him, she expressed a strange gesture—her mouth was stitched shut—indicating her desire for meat. Kali, in her fierce form, is traditionally associated with meat offerings.

But Bhagavan looked at her sternly and said, “You will never get that. If you wish to remain with This One, you must give up your desire for meat.”

The Devi relented. From that moment on, Bhadrakali accepted only the smell of meat, never its consumption. Her position on the outskirts of Ganeshpuri, near the cremation ground and separate from the inner sanctum of the village, reflects this transformed but still fierce aspect.

While minor animal offerings to local deities may continue in nearby groves, no sacrifices are made within the Bhadrakali temple, staying true to Bhagavan’s divine command.

Thus,

The story of Bhadrakali’s arrival in Ganeshpuri is not just a tale of temple building, but a profound unfolding of Shakti in alignment with Satya—of timeless traditions refined by the gaze of a Jnani. Through Bhagavan’s sankalpa, the Devi descended. Through Narayan Bhatji’s bhakti, she was established. And through the Hingwala family’s faith, she was nourished.

The temple today stands not only as a place of worship but as a living testament to divine will, transformed tradition, and the eternal relationship between the Guru and the Goddess.

Nithyanandeshwari