Shree Bhadrakali arrives in Ganeshpuri

Two Shaktis followed Bhagavan Nityananda: Mahasati, stationed at Mastikatta in Ankola, and Bhadrakali, placed on the outskirts of Ganeshpuri. With Shaligram, it was Kulloor Mukambika and  Devi. Shree Mukambika was installed in his Mahula Ashram, and Shree Tribhuneshwari Devi at Paydoni, in Mumbai. With Shree Swami Jananananda, Mahakali was stationed next to Kanhangad Ashram.

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

Bhagavan often encouraged visitors to Ganeshpuri to first visit Vajreshwari and seek the darshan of the three goddesses at the temple. Our house, situated directly across from the Vajreshwari temple, has always been under Her protective gaze. During a particularly challenging time, Bhagavan reassured us, saying, “Why are you worried? The Goddess Vajreshwari’s benevolent sight is on the house. You will always be taken care of.”

Indeed, we have felt protected by Her grace. However, Bhagavan’s words carried an implicit message: living under the Goddess’s benevolent protection demands a life of integrity, commitment, sanctity, and purity. This awareness becomes a guiding principle for all who dwell in the house.

Bhagavan also used to say that Goddess Vajreshwari is the elder sister of Goddess Bhadrakali, emphasizing Her supreme benevolence and power. He insisted that devotees visiting Ganeshpuri should have darshan of Shree Vajreshwari before proceeding to Ganeshpuri, reinforcing the sacred connection between these divine abodes.

This account narrates how Goddess Bhadrakali came to be enshrined in Ganeshpuri and the origins of the two statues within her temple. Initially, the Mahasati at Ankola resided in a modest temple, which later evolved into a shrine dedicated to Bhagavan Nityananda, complete with his statue. In Ganeshpuri, Bhagavan himself built the Bhadrakali temple, embedding a statue of Bhadrakali into the wall—a form that still graces the temple today. Subsequently, a second statue was installed in front of it.

Among the devotees deeply connected to this temple was Mr Hingwala, a prosperous businessman known for his “Nag Chap Hing” brand of asafetida. Bhagavan Nityananda entrusted Hingwala with the service of Bhadrakali. One day, Bhagavan asked him, “Hingwala! Will you make an offering to Bhadrakali?” With unwavering devotion, Hingwala responded, “Bhagavan, if you ask, I shall do it.” Bhagavan then instructed him to perform the Rajas Upachar Pooja. Unfamiliar with this grand ritual, Hingwala asked for guidance. Bhagavan directed him to Benares (Kashi) to find a learned priest capable of executing the ceremony.

Hingwala embarked on this spiritual quest with faith, eventually connecting with a renowned family of priests in Benares. Upon expressing his desire to perform the Rajas Upachar Pooja, the head priest initially laughed, doubting Hingwala’s understanding of the ritual’s complexity. Hingwala humbly admitted his ignorance but explained that his Guru had commanded him to find a capable priest. Persistent in his mission, Hingwala convinced the head priest to accompany him to Ganeshpuri, with the priest agreeing only after meeting Bhagavan.

When the priest arrived at Ganeshpuri, he was struck by Bhagavan Nityananda’s simplicity, clad in a mere langoti. To test Bhagavan, the priest engaged him in Sanskrit, to which Bhagavan responded fluently. The priest then switched to his native Banarasi Hindi, but Bhagavan answered just as effortlessly. Overwhelmed by Bhagavan’s wisdom and divine stature, the priest prostrated before him and declared his willingness to perform the ritual.

The Rajas Upachar Pooja is a royal ceremony in which the goddess is treated as a queen. Every detail, from her morning awakening to her evening rest, is meticulously enacted with regal splendour. Items such as her throne, mirror, comb, and bed are crafted in gold or silver, and she is adorned with luxurious garments. Even a grand procession is included, symbolizing her visit to her kingdom and subjects. In the 1950s, the cost of this elaborate ritual ranged between Rs. 60,000 and Rs. 75,000—a testament to its magnificence.

When asked about the cost, Bhagavan turned to Hingwala, who affirmed, “Your wish is my command.” With Bhagavan’s blessings, Hingwala spared no effort in preparing for the ritual.

On the appointed day, devotees began the pooja with great reverence. At that time, only the wall-mounted statue of Bhadrakali Devi existed in the temple. The pooja offerings, which mirrored the daily life of a queen, included her meals, rest, and even entertainment. In the evening, a grand procession symbolized Devi’s royal tour, with her statue placed in a palanquin accompanied by a retinue of golden and silver representations of her entourage.

The highlight of the ceremony was Bhadrakali’s visit to her Mahakal, Bhagavan Nityananda, who resided across the street in Kailash Bhavan. The palanquin, accompanied by music and chants, entered Bhagavan’s abode, where he sat majestically, waiting to receive her. The palanquin was placed at Bhagavan’s feet, symbolizing the union of Bhadrakali and her consort, Mahakal.

This divine event remains etched in the memories of devotees, a profound testament to the sanctity of Bhadrakali’s temple and Bhagavan Nityananda’s grace.

This was a rare and divine sight, one even the gods would descend to witness—Bhadrakali at the Lotus Feet of Bhagavan Nityananda, the Adinath. Joy and divinity filled the air as devotees witnessed the unfolding of Shivshakti in this sacred union. An aarti was performed to Mahakal-Nityananda and Bhadrakali. Even to this days, whenever the Palki of Bhagavan Nityananda comes to the temple of Bhadrakali every Thursday or during festivals like Gurupurnima, and Datta Jayanti, it is Shree Bhadrakali comes outside to perform aarthi of Bhagavan Nityananda and she offers Him sweet. Only after the palki moves forward, Her aarti is performed.

Bhagavan visiting Bhadrakali

Baba then addressed Hingwala, saying, “Bhadrakali is asking for a place. Will you give it to her?” Hingwala replied, “Bhagavan, your wish is my command. I will follow your will.” Bhagavan continued, “She wishes to reside in your wife.” This was a significant request, as it would mean his wife taking on the role of the Divine Mother. With unwavering faith in Bhagavan, Hingwala agreed and prostrated at His Feet. The statue of Bhadrakali was placed on Mrs. Hingwala’s head, and she was to embody Bhadrakali Swaroop. After receiving Bhagavan’s darshan, Bhadrakali returned to the temple, where the remaining rituals typical of a queen—entertainment, dinner, the offering of betel leaf, and finally, going to sleep with light music—were performed, marking the conclusion of the Rajas Upchar Pooja.

The New Statue Installed:

That night, after the pooja, Bhadrakali appeared in Mrs. Hingwala’s dream, demanding, “You did not give me any sarees to wear. You just showed them to me and kept them back.” Since the wall statue could not be adorned with sarees, they had only symbolically touched the garments to the statue. This dream repeated for several nights, prompting the Hingwalas to approach Baba and relay Bhadrakali’s message.

Hearing this, Baba instructed Hingwala to erect a new statue of Bhadrakali. He called Kuttiram Swami and asked him to find an artist capable of moulding a statue. Despite their efforts, both Hingwala and Kuttiram Swami struggled to find a skilled sculptor. Very few know that Shree Kuttiram had a significant role to play in Ganeshpuri. Before he became a monk he had a hotel called Nandeshwar which became his ashram when he became a monk. This ashram is on the left of the rear entrance of the Samadhi shrine. He facilitated several activities at Ganeshpuri and could also be considered as Man Friday. He had major role in making the land available at Ganeshpuri. The making present statue of Bhadrakali was entrusted to him by Bhagavan Nityananda.

When Baba arrived in Ganeshpuri, it was mostly jungle with a few villagers, and there was no infrastructure such as electricity, shops, or organized transport. Baba had warned devotees not to visit the hot springs late at night. One night, some curious devotees heard music near the spring and saw a woman in white playing an instrument. This occurred repeatedly until they informed Baba, who explained, “She is Gokarna Bhadrakali, and she has followed ‘This One’ from Gokarna. She now seeks a permanent place here in Ganeshpuri.”

Bhadrakali had followed Bhagavan from Gokarn, a place in Karnataka famous for the Atmalinga of Shiva. Naturally, Bhagavan Nityananda, as Mahakal, was her guiding force. Baba called Bhagavan Mistry, a local mason, to build a temple for Bhadrakali and create the wall statue.

Now that Bhadrakali wished to manifest in a standing position, a new statue was necessary. For days, Kuttiram and Hingwala searched for a sculptor but had no success. Eventually, a man known for working with plaster of Paris arrived in Ganeshpuri, and Kuttiram took him to Baba for approval. The man began creating the statue, but when the temple doors were opened the next morning, the statue had collapsed, crushed from head to foot. Kuttiram was distraught, but Baba simply laughed. Despite continued efforts, no suitable sculptor was found.

One day, a disheveled and drunk stranger arrived in Ganeshpuri. While sitting in Kuttiram’s hotel, he revealed he was a skilled artist. Overjoyed, Kuttiram immediately took him to Baba. Baba instructed, “Lock him in the temple with a bottle of kerosene, a Patromax lamp, a large bottle of liquor, and all the materials to make the statue. Do not open the door until it is ready.” Kuttiram followed these instructions.

After a few days, the doors were opened, and the statue was complete. The artist was given breakfast and paid one rupee and four annas, as instructed by Baba, and sent to Thane by bus. However, halfway to the bus stop, the artist mysteriously vanished into thin air. Hingwala was stunned and informed Kuttiram, but both accepted it as a divine intervention.

(It is said that Bhagavan Nityananda had summoned Lord Vishwakarma, the celestial sculptor, for the task. Vishwakarma’s only condition was that no one should witness his work, and he took the form of a drunken hooligan to remain unnoticed.)

Once the statue was painted, it appeared too ferocious, prompting the devotees to cover her face with a silk cloth overnight. The next morning, her expression had softened, though she still retained the wild, untamed essence of Kali. In later years, the statue was made to appear more compassionate, though as children, we were often frightened by her intense gaze.

The Consecration of the Idol

Before the installation of the new Bhadrakali idol, the spot for its placement had to be determined. This required the expertise of individuals well-versed in temple architecture and Hindu scriptures. Temples are sacred spaces, and specific geometrical calculations based on the temple’s dome and other structures must be followed. Devotees never undertook such tasks without consulting Bhagavan and seeking his advice. When it came time to decide on the spot for installing the second idol, the temple mason, Bhagavan Mistry, sought Bhagavan’s guidance.

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.

Animal Sacrifice and Devi’s Power

Traditionally, Kali temples practice animal sacrifice, but Bhagavan introduced a more symbolic form of offering. During the Pranapratishtha, Bhagavan instructed Narayan Bhatji to prick his finger and offer a drop of blood as a symbolic sacrifice. This consecration ritual, overseen by the Hingwala family and led by Narayan Bhatji, marked the establishment of Bhadrakali in Ganeshpuri.

For the rest of his life, Narayan Bhatji remained the priest of the Bhadrakali temple. He briefly left for Kanhangad after Bhagavan’s Mahasamadhi but returned to Ganeshpuri, where he continued his service until his last days.

Narayan Bhatji’s Devotion

I had the opportunity to meet Narayan Bhatji several times and was deeply impressed by his devotion and the way he performed the evening arati. He had a strict routine—bathing in the Teja River, gathering water from the Bhimeshwar temple’s hot spring, and then walking to the Bhadrakali temple. His presence was striking—his copper-coloured skin glowing in the setting sun, his long hair draped over his shoulders, and his posture erect like a yogi of ancient times. The arati, accompanied by the rhythmic beat of drums and bells, made the Devi’s face come alive with divine energy.

After the arati, Narayan Bhatji would offer prayers on behalf of distressed devotees. On Thursdays, when Bhagavan’s Paduka arrived at the temple, Bhadrakali was said to come forward to honour him, and the arati was performed as though she herself were paying homage to Bhagavan.

Bhadrakali’s Request for Meat

One day, while the Hingwala family and other devotees sat with Bhagavan in Kailash, Mahendrabhai Hingwala, still a young boy, suddenly began to dance frantically, seemingly possessed. Bhagavan revealed that Bhadrakali had taken over the boy. When asked what she wanted, the boy made gestures indicating that her mouth was stitched shut, symbolizing her desire for meat. Bhagavan sternly told her, “You will never get that. If you wish to remain with ‘This One,’ you must give up your desire for meat.” From then on, Bhadrakali gave up her demand for meat and was content with merely smelling it.

Kumkum Archana at home

True to Bhagavan’s words, while no animal sacrifice takes place at the Bhadrakali temple, nearby offerings made to a local deity may include chickens. Yet, the Bhadrakali temple itself remains free of such practices, with her position on the outskirts of Ganeshpuri a testament to her evolved role.

Nithyanandeshwari