ଓଡ଼ିଆ ସାହିତ୍ୟ ଜଗତରେ କବି ସମ୍ରାଟ ଉପେନ୍ଦ୍ର ଭଞ୍ଜ ବିଶେଷ ଗୌରବର ଅଧିକାରୀ । କବି ସମ୍ରାଟଙ୍କର ଶେଷ ରଚନା ହେଉଛି ‘ଶ୍ରୀନୀଳାଦ୍ରୀଶ ଚଉତିଶା’ । ଏଥିରେ କବିଙ୍କର ଜଗନ୍ନାଥ ପ୍ରାଣତାର ପଟାନ୍ତର ନାହିଁ । ଡକ୍ଟର ମହାପାତ୍ର ‘ଶ୍ରୀନୀଳାଦ୍ରୀଶ ଚଉତିଶା’କୁ ସମ୍ପାଦନା ଓ ଆଲୋଚନା କରିଛନ୍ତି । ‘ଶ୍ରୀନୀଳାଦ୍ରୀଶ ଚଉତିଶା’ ଗ୍ରନ୍ଥଟିର ପାଠକୀୟ ଆଦୃତି ଆଶା କରାଯାଏ ।

I had first visited Chausathi Yogini temple, Hirapur as a part of my professional work, to design a training program for the residents of the Hirapur village. A mild interest in the temple and the yoginis soon transformed itself into a mighty passion. The more I read and delved deep, the more intrigued I was. From Hirapur, Ranipur Jharial, Khajuraho, Morena to Cambodia and Indonesia, I have met the Yogini’s everywhere.

Initially I started with a song project dedicated to the Yoginis of Hirapur, my long-standing tryst with the Chausathi Yoginis, to be presented to them in the form of a song. The song took shape bit by bit, beginning under the patch of blue sky we could see from where we stood inside the hypaethral temple of Hirapur, the abode of the Yoginis. Several compositional techniques were used to evoke the essence of tantra music–tone painting, melodic phrasing, sequences, and rhythmic ostinati to create musical complements to meditation. The melody weaves the texture of a trance, helping in deepening the listeners insight. The use of traditional, authentic musical instruments further accentuated the experience. The vocal melody, mantric utterance, and rhythmic flow all were enmeshed to create the mysticism of the Yoginis.

Immediately after this, the book took shape. Based on my research and information I collected from museums in several places, I have tried to demystify the relatively unknown Chausathi Yoginis of Hirapur. Several rare aspects of this temple intrigued me. The Yogini Cult, Tantric in nature and tantra itself, projecting the efficacy of magical rituals and spell, sounds and gestures, is intertwined deeply with rural and tribal traditions. There is a diverse range of attitudes toward the tantric traditions, ranging from viewing it as a path to liberation to the relatively widespread associations of the tantric traditions with sorcery and libertine sexuality. In Hinduism, the tantra tradition is most often associated with its goddess tradition called Shaktism, followed by Shaivism and Vaishnavism. In this temple, every male deity except Shiva are replaced by a female counterpart including Ganesh all of them representing varied qualities. The Yoginis were believed to impart magical powers to their worshippers:

These powers included:
anima (the ability to become very small),
laghima (the power to levitate and to be able to leave your body at will),
garima (the power to become very heavy),
mahima (the power to become large in size),
istiva (the power to control the body and mind of oneself and others),
parakamya (the power to make others do your biding),
vasitva (the power to control the five elements) and kamavasayitva (the power to be able to fulfill all your desires) (Dehejia).

According to the Archeological Survey of India the temple came to be known in 1953 (Mahapatra 1953).

This seems strange considering the proximity of the temple to the state capital Bhubaneswar. I have visited the temple uncountable times, mostly alone but often with friends and have enjoyed the quiet isolation that has been thrust upon not just this temple but the cult as well. The most beautiful Yogini temple among all, sixty three Yoginis are enshrined here. One statue is missing.

This book is a compilation of my research and readings on the Chausathi Yogini temple at Hirapur. This book was motivated by the desire to delve deeply into the tantric roots in which the Yogini cult is embedded and to link it to the significance of this site as a potential cultural tourism destination.

Dr. Adyasha Das, Author