Uploaded November 2024 | Updated September 2026, 2 hours ago
Sharvi Maheswari
Exploring Text and Ritual in Śākta Tantra: A Comparative Analysis of the Kālikā Purāṇa and Navadurgā Traditions in Bhaktapur, Nepal.
Abstract: This presentation titled, “Exploring Text and Ritual in Śākta Tantra: A Comparative Analysis of the Kālikā Purāṇa and Navadurgā Traditions in Bhaktapur, Nepal,” delves into the fascinating interplay between textual sources and lived ritual practices within the context of Śākta Tantra. Focusing on the 10th Century Sanskrit text Kālikā Purāṇa, traditionally associated with the Assam region, and juxtaposing it with the local Śākta rituals of Bhaktapur, Nepal, particularly the Navadurgā tradition prevalent since the 16th Century, this study seeks to unravel the complexities of Śākta worship. Bhaktapur serves as a significant locus for preserving the comprehensive Navadurgā tradition, where a dynamic interaction unfolds between ‘ordinary’ Brahmanic deities and ‘dangerous’ Tantric deities. Through the utilization of esoteric Hindu Tantra, untamed female deities find expression, challenging conventional moral codes and societal norms. Within the Bhaktapur context, the goddesses are classified into three distinct
groups: Māṇḍalic Goddesses, the Nine Goddesses for the annual Devī Cycle, and Taleju/Bhagavatī (Levy 1990: 228).
My research further delineates the Kaula traditions surrounding the goddess into three narrative codes: Sanskritized Devī practices (Code A), indigenous practices overlaid by Sanskritized elements (Code B), and evolving Kaula traditions influenced by Śākta and Śaiva traditions from Northeast India (Code C). Employing this analytical framework, I aim to compare the textual representations found in the Kālikā Purāṇa (Code A) with the on-ground ritual practices observed in Bhaktapur during the Daśain period (Codes B and C). Through this comparative analysis, I endeavor to uncover nuanced patterns within religious practices, bridging the gap between textual evidence and lived experiences of worshippers. Ultimately, this study seeks to shed light on the dynamic relationship between text and ritual, offering insights into the multifaceted nature of Śākta Tantra and its manifestation in contemporary religious observances.
Bio: I am a DPhil student in Theology and Study of Religion at the Univer-
sity of Oxford. My academic journey includes completing an MPhil in Clas-
sical Indian Religion at Oxford, and an MA in Religious Arts of Asia at SOAS,
London. Currently, I am the DPhil Student Representative for the Faculty of Theology and Religion and the elected Arts and Cultural Officer of Kellogg College, Oxford. I have been actively involved in arts and cultural representation, serving as the Ethnicity Advisor at Queen’s College, Oxford and Secretary at the Oxford Centre for Hindu Studies. In these capacities, I initiated projects such as a lecture series on ‘Rethinking Gender in Hinduism’ and a translation project at Queen’s Translation Exchange.
I am a trained Bharatnatyam dancer and have been learning the classical art form from the age of 3 under the guidance of Padma Vibhushan, Padmashree Awardee, and Dr Yamini Krishna-murthy. I have completed my formal training both through a degree in B.A., and Bharatnatyam (Performing Arts) under “Prayag Sangeet Samiti”, Allahabad University with First Division and Guru-Shishya Parampara.
Sharvi Maheswari
Exploring Text and Ritual in Śākta Tantra: A Comparative Analysis of the Kālikā Purāṇa and Navadurgā Traditions in Bhaktapur, Nepal.
Abstract: This presentation titled, “Exploring Text and Ritual in Śākta Tantra: A Comparative Analysis of the Kālikā Purāṇa and Navadurgā Traditions in Bhaktapur, Nepal,” delves into the fascinating interplay between textual sources and lived ritual practices within the context of Śākta Tantra. Focusing on the 10th Century Sanskrit text Kālikā Purāṇa, traditionally associated with the Assam region, and juxtaposing it with the local Śākta rituals of Bhaktapur, Nepal, particularly the Navadurgā tradition prevalent since the 16th Century, this study seeks to unravel the complexities of Śākta worship. Bhaktapur serves as a significant locus for preserving the comprehensive Navadurgā tradition, where a dynamic interaction unfolds between ‘ordinary’ Brahmanic deities and ‘dangerous’ Tantric deities. Through the utilization of esoteric Hindu Tantra, untamed female deities find expression, challenging conventional moral codes and societal norms. Within the Bhaktapur context, the goddesses are classified into three distinct
groups: Māṇḍalic Goddesses, the Nine Goddesses for the annual Devī Cycle, and Taleju/Bhagavatī (Levy 1990: 228).
My research further delineates the Kaula traditions surrounding the goddess into three narrative codes: Sanskritized Devī practices (Code A), indigenous practices overlaid by Sanskritized elements (Code B), and evolving Kaula traditions influenced by Śākta and Śaiva traditions from Northeast India (Code C). Employing this analytical framework, I aim to compare the textual representations found in the Kālikā Purāṇa (Code A) with the on-ground ritual practices observed in Bhaktapur during the Daśain period (Codes B and C). Through this comparative analysis, I endeavor to uncover nuanced patterns within religious practices, bridging the gap between textual evidence and lived experiences of worshippers. Ultimately, this study seeks to shed light on the dynamic relationship between text and ritual, offering insights into the multifaceted nature of Śākta Tantra and its manifestation in contemporary religious observances.
Bio: I am a DPhil student in Theology and Study of Religion at the Univer-
sity of Oxford. My academic journey includes completing an MPhil in Clas-
sical Indian Religion at Oxford, and an MA in Religious Arts of Asia at SOAS,
London. Currently, I am the DPhil Student Representative for the Faculty of Theology and Religion and the elected Arts and Cultural Officer of Kellogg College, Oxford. I have been actively involved in arts and cultural representation, serving as the Ethnicity Advisor at Queen’s College, Oxford and Secretary at the Oxford Centre for Hindu Studies. In these capacities, I initiated projects such as a lecture series on ‘Rethinking Gender in Hinduism’ and a translation project at Queen’s Translation Exchange.
I am a trained Bharatnatyam dancer and have been learning the classical art form from the age of 3 under the guidance of Padma Vibhushan, Padmashree Awardee, and Dr Yamini Krishna-murthy. I have completed my formal training both through a degree in B.A., and Bharatnatyam (Performing Arts) under “Prayag Sangeet Samiti”, Allahabad University with First Division and Guru-Shishya Parampara.
