After sunset, unknown presences are said to descend here—which is why no one stays in the Chausathi Yogini Temple, Hirapur after dark
- The architectural design of this temple clearly indicates that a concentrated source of energy lies at its center. Unlike most temples, which have a roof over the sanctum, this temple is open to the sky. Under the open sky, energy is channeled directly for spiritual practice.
By Debasree Chakrabarti
Recently, I visited the Chausathi Yogini Temple in Hirapur, located in the Indian state of Odisha. Being born into a Tantric family, I have always been deeply drawn to the profound mysteries of Tantra.
It was late afternoon when I entered the temple. Right at the entrance stands a temple dedicated to Lord Mahadev (Shiva). After offering my respects to Mahadev, I proceeded toward the Chausathi Yogini Temple.
On the way, to the right, there is a well that immediately caught my attention. There was something deeply compelling about it—I do not know what lies within.
At the entrance of the Yogini temple, on either side, stand the architectural figures of Jaya and Vijaya, the traditional temple guardians. The temple entrance is flanked by two guardians. The southern carving (left) depicts a male figure with ear ornaments and lotus creeper on the pedestal. The northern carving (right) is quite different, a wrathful male figure with disheveled hair, protruding stomach, and holding a skullcup in his left hand. The entrance is quite low, clearly designed to ensure anyone entering has to bow down in order proceed. It also adds an element of theater to the overall experience, as you go through the short passage, head down, into the mystical womb-like interior.
Inside the open-air temple, the inner face of the temple wall has 60 evenly spaced niches just above ground level, each one containing an extraordinary standing figure (yogini) carved from fine grained chlorite. Each idol is delightfully posed, many with a soft smile that enhances their attractiveness even further. They are all standing on their own pedestal or vahan, which typically consists of an animal, human head, or demon.
The variety of their hairstyles, weapons and accessories is incredibly interesting and ensures no two images look alike. It is the details on some of these carvings that have suggested to some scholars the earlier 8th – 9th century date for this temple. Unlike other temples associated with tantrism, there are no erotic carvings to be found here.
The presiding deity of the temple is Mahamaya, located in the 31st niche, who is worshiped as a form of Durga/Kali by the local villagers. As is often the case in Odisha, the image was almost completely covered which prevented me from photographing it along with 32nd image of Usha (Rati).
Continuing the circuit around the temple wall, here are the next 30 idols to complete the full set of 60 around the perimeter.
The Chausathi Yogini Temple in Hirapur, located in the Indian state of Odisha, lies about 20 kilometers from the capital city of Bhubaneswar. This temple was built in the 9th century by Queen Hiradevi of the Brahma dynasty. It holds immense significance for tantric and mystical spiritual practices.
Although the temple was partially damaged during the 16th-century invasion by Kalapahad, he could not completely destroy it. Several centuries passed, and then in 1953, the renowned historian and archaeologist Kedarnath Mohan Patra rediscovered the temple after a long search.
It is believed that each of the Ashta Matrikas (Eight Mother Goddesses) created eight more Matrikas from her own body. Altogether, these formed a group of 64 Yoginis.
If one views the architectural layout of the Chausathi Yogini Temple of Hirapur from above, it appears to resemble a Shiva Linga. The entire temple is circular in shape, and just like a Shiva Linga has a narrow outlet on one side for water to flow out, this temple also features a similar narrow extension. The central spot—where the Linga would typically be placed—is also clearly marked.
To speak plainly, the Shiva Linga represents the atom. The energy field that surrounds the atom is perceived as the Matrika Shakti (Mother Energy). This is why Shiva Lingas are found in all Matrika temples.
The architectural design of this temple clearly indicates that a concentrated source of energy lies at its center. Unlike most temples, which have a roof over the sanctum, this temple is open to the sky. Under the open sky, energy is channeled directly for spiritual practice.
According to the temple priest, a powerful force descends directly from the open sky here. Those who perform spiritual practices in this space can attain siddhi (spiritual accomplishment) through such divine energy.
On the outer wall of this temple are the idols of nine goddesses, believed to be the nine forms of Katyayani, or the Navadurga. Then, on either side of the temple’s entrance stand two guardian figures, known as Chhaya (Shadow) and Maya (Illusion).
Just inside the narrow passage leading into the temple are the figures of Chanda and Munda. Whenever the 64 Yoginis go to battle, Chanda and Munda lead the way. While the goddesses beheaded the demons, Chanda and Munda would drink the blood, preventing it from touching the ground.
Once inside the temple, along the circular wall, there are 60 Yogini statues. At the center, along with four Bhairavas, are four more Yoginis. This central chamber is called the Chandi Mandap. However, one Yogini is missing from the circle—more on that later. First, let us get acquainted with each of the Yoginis in the temple:
Yogini Bahurupa – standing atop a corpse
Yogini Tara – also positioned on a corpse
Yogini Narmada – whose mount is an elephant
Yogini Yamuna – seated upon a turtle
Yogini Lakshmi – seated on a lotus
Yogini Varuni – seated in the ocean
Yogini Gauri – seated on an iguana
Yogini Indrani – seated on Airavata, the celestial elephant
Yogini Varahi – seated on a boar
Yogini Padmavati – seated on a serpent
Yogini Murti – seated on a camel
Yogini Vaishnavi – seated on an owl
Yogini Virupa – seated on a boar
Yogini Vaidyarupa – seated on a drum
Yogini Charchika – seated on a demon
Yogini Betali – seated on a fish
Yogini Chhinnamasta – seated on a severed human head
Yogini Vrindabashini – seated on a mountain
Yogini Jalkamini – seated on a frog
Yogini Ghatbara – seated on a lion
Yogini Kakarali – seated on a dog
Yogini Saraswati – seated on a snake
Yogini Virupa – seated on ocean waves
Yogini Kauberi – seated on a vessel
Yogini Bhaluka – seated on flowers and creepers
Yogini Narasimhī – seated on flowers
Yogini Bhirja – seated on a lotus
Yogini Vikata Nayani – whose mount is broken
Yogini Mohalakshmi – seated on a lotus
Yogini Kaumari – seated on a peacock
Yogini Mahamaya – seated on a lotus
The idol of Mahamaya is placed exactly at the center of the 60 Yoginis.
She is the presiding deity of this temple. Her idol is slightly larger than the others. Following her are:
Yogini Rati, seated upon Kamadeva (the god of love)
Yogini Karkari, seated on a crab
Yogini Sarpasha, seated on a bed
Yogini Yosha, seated on a wooden stool
Yogini Aghora, seated on a rat
Yogini Bhadrakali, whose mount is a crow
Yogini Vinayaki, seated on a donkey
Yogini Vindhavalini, seated on a rat
Yogini Abhaya, seated on a crab-scorpion hybrid
Yogini Maheshwari, seated on Nandi, the sacred bull
Yogini Kamakshi, seated on a mongoose
Yogini Kamayani, seated on a hen
Yogini Ghatbari, seated on a lion
Yogini Stuti, seated on sandalwood
Yogini Kali, seated on Mahadeva (Shiva)
Yogini Uma, seated on flowers
Yogini Narayani, seated on a water pot
Yogini Samudra, seated on a conch shell
Yogini Brahmani, seated on a book
Yogini Jwalamukhi, seated on a bed
Yogini Agneya, whose mount is unclear or indiscernible
Yogini Aditi, seated on a parrot
Yogini Chandrakanti, seated on a wooden stool
Yogini Vayubega, seated on a Chamri cow (a Himalayan breed)
Yogini Chamunda, seated on a musk deer
Yogini Murti, seated on a deer
Yogini Ganga, seated on a Makara (mythical aquatic creature)
Yogini Dhoomavati, shown seated on a swan
Yogini Gandhari, seated on a donkey
These Yoginis, together with those previously described, form the nearly complete circle of 64 divine feminine energies worshipped in this ancient temple. These are the 60 Yogini idols placed along the circular inner wall of the temple. Now let us come to the Chandi Mandap at the center of the temple, where four Yoginis are enshrined along with four Bhairavas.
The first goddess is Ma Sarvamangala, whose idol has been stolen.
The second is Yogini Ajita, whose mount is a deer.
Next is Yogini Suryaputri, whose mount is a horse.
Then Yogini Vayu Veena, also mounted on a deer.
Alongside these four Yoginis, there are four Bhairavas. The first is Ekapada Bhairava—so named because he stands on one leg. In addition to him, there are three other Bhairavas in this temple.
According to the temple priest, this is a sacred site of Tantra, Yantra, and Mantra.
The temple was originally established around 900 CE, and in 1352, a king and his queen discovered it again deep within a forest. They were traveling on horseback when their horses suddenly refused to move forward. The king picked up a stone and threw it toward the spot—astonishingly, the stone sank into the ground. Sensing something unusual, the king and queen returned.
That night, the king received a divine vision in his dream, telling him that a 64 Yogini temple lay hidden beneath the earth and instructing him to restore it. When the king began removing the sand and excavating the site, he found the temple filled with small spherical crystal balls. These spheres glowed like diamonds. From that time onward, the place came to be known as Hirapur (Hira meaning diamond in Hindi).
This site has been a revered tantric pilgrimage center for generations. The power of this temple is believed to descend directly from the open sky—which is why the temple was left roofless.
To kill the demon Raktabeej, the Goddess manifested 64 different forms. During this time, the Goddess was so fierce and enraged that Lord Shiva himself appeared in the form of four Bhairavas to pacify her.
On the day of Maha Ashtami during Durga Puja, a mysterious ritual takes place in this temple. Fish are caught from the nearby pond, roasted, and offered to the goddess on banana leaves after midnight. Before this offering, all rituals and evening aarti are completed. After placing the offering, the temple doors are closed and everyone leaves the premises.
The next morning, when the priest comes to resume the puja, he finds only the central bone of the fish remaining—as if someone has carefully eaten it. Locals believe that the Goddess herself comes and accepts the offering. According to the priest, after sunset, the temple’s inner energy becomes active. The presence of several beings can be distinctly felt. This is why the priest performs the evening aarti before sunset, closes the temple, and leaves. The temple is opened again the next morning at 4 AM.
The 64 Yogini idols inside the temple are made of black granite, while the nine Navadurga idols on the outer wall are carved from sandstone. The idol of Ma Sarvamangala is missing from the temple. This brings us to an important point.
In the Sarvamangala Temple in Bardhaman, West Bengal, there is an idol of Ma Sarvamangala also made of black granite, just like the Yoginis of Hirapur. With this idol is a crystal sphere, kept in a small container. According to the temple priest, the king of Odisha once gifted this idol and the crystal sphere to the King of Bardhaman.
As I mentioned earlier, when the 64 Yogini temple was rediscovered in 1352, it was found to be filled with crystal spheres. The idol of Bardhaman’s Sarvamangala, made of the same black granite as the Yoginis of Hirapur, and the presence of the crystal orb, lead to one logical conclusion:
Through some unknown event, the missing Yogini idol from the Hirapur temple—Ma Sarvamangala—somehow found her way to Bardhaman, West Bengal.
The priests of the Bardhaman temple believe that the crystal sphere represents the navel of the goddess.
In ancient times, Hindus—and later, Buddhists—used crystals or rock crystal (sphatik) for receiving and transmitting messages. It was based on this very principle that the crystal radio set was later developed. Scientists have discovered that radio waves travel through space from various sources. But who is sending these messages?
The upper portion of the 64 Yogini temple is entirely open. According to the temple priest, all the energy within the temple descends from above. Why were there so many crystal spheres in this temple, which is designed in the shape of a Shiva Linga? It is believed that these crystals were used to receive some form of energy.
It is known that electromagnetic waves form around a Shiva Linga, and since this temple itself is shaped like a Linga and houses three Bhairavas at the center, it is regarded as a sacred site for Tantra, Mantra, and Yantra practices.
So could it be that this entire site functions as a device for receiving energy?
Even today, after sunset, unknown presences are said to descend here—which is why no one stays in the temple after dark. This implies that the temple remains energetically active to this day.
To truly uncover the mysteries of this temple, a joint effort between physicists and archaeologists is essential. Just as we need physics to understand the mysteries of the atom, the same is required to decode the secrets of this ancient site.
The moment I entered this temple complex, I felt a strange sensation — as if I had stepped into a powerful energy field. As a writer and researcher, I returned home carrying this invaluable experience with me.
References:
Sixty-Four Yoginis: Cult, Icon and Goddesses – Anamika Roy
Yogini Cult and Temples: A Tantric Tradition – Vidya Dehejia
The Chausathi Yoginis of Hirapur – Adyasha Das.
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Debasree Chakraborti is a renowned novel writer of Bengali language. Based in Kolkata, West Bengal, India, she has done Master’s in Modern History from the Kolkata University, and authored some thirty books, mostly the novels, with historical perspective and themes. Her novel is ‘Maharaja Dahir’ that covers the history of Sindh from 662, the year of first attack on Sindh by the Arab armies till date, was published last year and translated by Nasir Aijaz into Sindhi language.
